Kwagawa [i.e. Kwanko]-zusetsu = Illustrated notes on the antiquities : pottery / by Ninagawa Noritane ; translated by H.R. Yamamoto

SS
SSS SS SS

KWAGA

(Illustrated Notes on the Antiquities
Pottery)

By Ninagawa Noritane

Translated by H. R. Yamamoto

Ls? GG

«
3

ee oe ano
te a

8 Gig? =

KWAGAWA-ZUSETSU

eae (Illustrated Notes on the Antiques; Pottery)

By Ninagawa Noritane

Translated by H. R. Yamamoto.

Le 9006

| Freer Gailery of Art

EXTRACT FROM MR. H. R. YAMAMOTO'S LETTER
of June 23, 1906.

As I wrote you before, certain paragraphs were absolutely
5 unintelligible, but comparing those parts with other parts of the

) samebook and some other books, I have succeeded in making them
"somewhat intelligible. I think I have done the work very faith_

: fully so far as the sense is concerned, but have made some in-

| versions of the different sentences in the same paragraphs, so as

: to make the English sentences look somewhat more logically than the
. original. You can ask any educated Japanese whether my translation
is faithful and true to the original, but please don't let them con-
_ demn it just by a cursory glance, as a sentence appearing near the
beginning of a paragraph may not be in the same place in the trans-—
lation, but somewhere in the middle or the end of the paragraph.
Then the terminology in the original is not at all scientific;
neither is it very successful in the choice of words even of the

f daily use. For instance, the book uses the word "Kaki-iro" (per-

4 Simmon color) for a "dark brown" color; which is not correct, accord—
ing to the common usage of the aon "Kaki-iro"., Kaki-iro is a
reddish brown color, and not dark brown. He meant the word "Shibu-
iro™ the color of the juice of a stringent persimmon, after it has
been exposed to the air, a color something like that of weak choco-—
late. So the author mixed up the words “aki-iro and Shibu-iro, as
it both were the same color.

| After all the text is written in such a wretched way as

' there is hardly an equal of it, and one ought to read it so very

| carefully, before he tries to pass upon it.

Another instance is about the very ambiguous use of the

ay ee a =.

wom loads o788 scp erohed de

Sagiat ape ae anon ott eno ‘ova r stat ‘

snasiges¢ ets to

'gobtitaetoe lis 4

Ds

: passive and active moods. As a rule, the distinction of the
"passive and the active in Japanese is not accurate, but this author
) is specially bad in this respect, and in one or two places, he
writes as if a famous master of the ceramic art was studying the
art under his own pupil, simply because he uses the word "denshut
in avery ambiguous and vague way. Actually, the word "denshu" is
a Chinese word, meaning either to teach or to be taught. In more
than one place, the author used this word without paying any atten-
tion to the ambiguity it would cause, unless the reader was very

well acquainted with the subject matter.

Gegd.) PH UR. is

Honsas etat sou:
» sod |, Bepelh

sit yabyouse-

Ss 2 a

* 1 tos at)

22 gta 5) brow:

yew

et Sudeneb®

Brot ont

Sears -87om of:

Snstts Yas aniyaq isons be Brow:

2s o ReN: eae “abest add eeelcs

ae ce eg as, ae stediem toetdud adit sotv

JAPANESEH MEASURES

‘Distance:- :
Wises oie S3G: ChOC= 22 l/min LOS)
dv2CHOs ea OO) ken
1 ken ...... 6 shaku(- 2 yards)
dy Shek... 6 eee hh OOG
iisheku.....h0 sun (- lL foot)
ie SUI eye ec, BO (ar LO toot)

Man O25 eters, Sietyaptorg eC poe ag at

Weights:-_
1 momme .... 10 fun(= 60 grains)
fumes. BOLE (eG eraine)

leminik 268. 3/5 Serain:.

edGOR ET «vee.

Kwanko-Zusetsu

Illustrated Notes on the Antiques
Pottery.
Vol. I.
By Ninagawa ere

March of the ninth year of Meiji.

1876.6

Nothing remains unchanged. Things that were new §
yesterday look old to-day; things we look upon as wonder-
ful to-day will grow commonplace to-morrow. The modern
progress of science and industry does but accelerate this
current of perpetual change. It is not without reason
that some people are ever looking for something new and
odd to an utter neglect of anything old. Even a time-
honored institution of the country is cast aside for a
new one--not to speak of various useful and interesting
relics of the old time industry and art being scarcely
given any due notice and care.

This wholesale relagation of the old, poweteny, is
; nothing but a reflection of our unsound judgment and ill-
adopted policy on the matter. It hardly needs saying
that we ought to be ever on the alert to exploit in the
field of the new; but it is also well to remember that
some of the old can not be too jealously preserved. The
barbarous is the very criterion by which we can pass upon
| the civilized; and the old is but what we are enabled to
: tell the new by. History is all very well in its own way,
but who can doubt the deauenent apie the material evidences
that are short cut, so to speak, in our study of what our
forefathers were and could do?

Fortunately our country has enjoyed the foremost rank
in the East in having an ample stock of such evidences; but
if this present tendency of neglecting the old goes on un-

checked another twenty years, I am afraid all our historic’

* 03
‘

frtsbom ont .wortonot eiectiamsn dab b= 0 |
aids stareissos tud esob yiteubod bas sonsios to seowora
Toast tuodtiw tom at $I s9pntarto Leudeqroq to ‘dneviss
bis wen anintenioa oT gnisoor 18VS, STs efgoeq eno tacts
~omt? & revit sbio gatsieok to tosigen redder ne. ot bho :
& tol sbias taso ak yitasoo sult 20 nobdntttant beronod
afiitesietmt bos [wtess exoiney to some ot ton~-910 wen
Ylootsse snied Jis bus uitenbat omit ‘bfo eit ee) hk ie
8789 bas eoiton ous vite revig

ed etoveworl blo ond to wotdanstey efoto eiaT
eift bas toemghuf bavoeew WO, to noisoolter & dud gatsiton 4
| gniyse sheen yibued at 11010 end 110. abtod bedqo :
ext raed thoLyxe oF stele add fo neve. od 08 Faiguvo ow Bbnais
tact odntamet. oF ‘Ilew. vets el th dud Gwen eit to biel?
ont | sbevisesng yevo leg oot ‘od tom aso bio edt to emo

“moans Beeq med oe AOE AE phe at enoredt,

T-+-2,

temples and castles will shortly be nothing but ruins, and
all our invaluable antiques and curiosities will be gone in-
to the hands of alien collectors--thus leaving us absolute-
ly helpless in any attempt at researches 44 the various lines
of std old time civilization and developement. This is the
reason why.I, with my scanty resource, bring out this book,
the result of my works carried on in my spare moments during
more than twenty years of my official service. It will be
no small satisfaction to me, if these pamphlets should prove
in the future of any help to anybody, whether abroad or at
home, who may be inclined to look up some phases of our in-

dustrial developements.

Bee Weal
orid at eiaT dials
-tood atid, duo gninid sotu98eT wane wn thw hk
gakub atnenom o1s¢e Ne at a0 beiri80 asltow Yor to: a
: of Eftw-dl | sookviss Lstoltto ‘at Mo ata0y xainows wt.
| evoug blsosda ate Loainst seen aE. <n od mottostet tna SLeme
i TT ts 10 beords: teitariw bodys 93 alent uns to outer ett r

wat wo ‘to acest emoe qi dooLuat: bent font ad vem ont « 00.0 . ‘
a MA 4
; setmomoueroves farrdech Me,

yh
Ph a sabi

7 ape mare iM Wis: oe oa
a ieay Ol ce int tae ay pln i; i) x rae rs
ae HF) nee a inh

Te=3,

—

Pottery of the eaters Period.
According fo AR (oldest historical annals) the
Prince Susano-0, one of the most powerful princes of the
legendary age, once said to his people: "You (people)
Make some sake in the Yahara-jar from various fruits, and
iowihl Kita: the python fer you". From this record it can
be assumed that our forefathers had some sort of pottery as
nis period, though none has been found existing as yet.
A great many years after this Prince, says the same aue
thority, Emperor Jimmu, in September of the first year of
his reign (660 B. C.) ordered eighty pieces of hiraka (flat-
top)-jars and an itsuhe to be made of the clay gotten from
the grounds of Amano-kaguyama temple, to be used on the altar
in worshipping the celestial ‘andeterregerial g0ddiwes..ssl 0
the great joy of the Emperor some clay was found in the hill,
of Nifich eighty pieces of hiraka, eighty pieces of amano-
tashiguri, and an itsuhewere made...... and he worshipped
the gods, getting A Sac tesn helices: from the upper Niu. The
use of the itsuhe originated in this.
Amano-kaguyama is situated in Toichi distriet,
of Yamatoe
Hiraka was so called because it is flat on the
mouth or top. It is a utensil of Shinto rituals.
Itsu-he---itsu’? meaning ped and“he’} a pot or

jar---is another utensil used in worshipping.

Tashiguri literally means hand-scraped, and is

sbokteT dest ixeh sity
ont (aLenns Isoftosata SasbLo)

f

eid to aeons pda ‘Yeon on Se ono ao

UB emse ent ee pont etet se etee watt nies x
to isle teri? sit to’ sPeserast ehh at «Ms Enact cut
os

v .

stotasere EsotoT nt because et “eincginieonana

# 7 pote.
x Te {

eo UL

T--4,

a hand-made bowl for Shinto ceremony.
Pottery of this period was unglazed earthenwares,

uneven in thickness and shape. Apparently they were

not baked in any furnace, but a little earth was remov-

ed from the ground where the hand-made wares were put,
covered with some wood and set on fire. When they
were done, the improvised kiln was covered up with

some mud, thus keeping the contents from cracking by

a too sudden contact with the cold air. Those in the
centre of the furnace were well baked, and came out in
reddish colors; those on top were apt not to be very
well baked, end—came_out—with some dark spots tebe
very wellbaked, and came out with some dark. spots on
the reddish ground; while those on the sides, where

the combustion was very imperfect, camemaats black, show-
ing the effect of the smoke. Even. now, the potters

of Hayenoki, of Yamashiro, make their wares in this prim-
tive waye They knead and mould the clay in the palms
of their hands. Their furnace is about five feet
square, three feet high, and built of mud. The pre-
pared wares are put into this kiln with a sufficient

pile of wood on top of andunder them. When they are

baked, both the fire-hole and the smoke-flue are cov -

ered air-tight with mud and the contents are left a-
lone till they are cool enough to be taken out. The
ceramic wares used in Kasuga temple, of Yamato, are

made in this way.

s1sw vert yidnerstqA

-vomet asw ddiee eftshe & tad, ote re ef | a as bes sd
|g tua stow ao1sw ebamebratt ont anocki ‘baworxn oF ;

vent neaW -orkt no. $8e bas boow 9008 a

YIS¥ od o¢ r00 tqa stew god a0 “epost “iareten 2 Ate
o¢-o¢-etoqe seh snes ives a ted Kon
0 atoma ansh smoe dd¢iw tuo omeo. ce baste o 4
e-1esiw ,2obie ical 10, eeods eftetu ghnsore, se ton

«eee

ewok ,toald tye OED. «tet sate yey ea soiteusine

:
. | | eredtoq ent, (wor seve Ohi ss ont to. F097 |
“nia atdd mi sevew. thease oust eouistesnet to pe 7"
_amiag. edd at yato. ont ‘biross brie deena eat ie re
test ovit trods at sown aboot
oq exT bum Ta dLtwd bs wien peep 7
fnotolviae & sthw sa abi otat had x He ap

Piles
se *
ox ek
a

oe

7 om ' rr Me re = “300. weer os at " me | cay £900 9%

r :
A +

weeigte aay 2.

——— ee

I--5,

Six Huslevea teeta Gales years later, that is, in the
third year of the reien of Emperor Suinin (27 A. D.), the
Korean prince Ameno-Hiboko came, part of whose attendants
were the potters of Hasama, of Ohimi. These Koreans are
supposed to have shown the natives their Korean way of mak-
ing pottery. Some real Korean wares, however, must have
been brought over before this, as intercourse between the
two nations had been going on for some time before this,

Hasama was in Nozu district of Ohmi, not very far
from Kagamiyama, near which Suyeno-mury (meaning Porce=-
lain village) is situated.

The ceramics of this period, though madeafter
the Korean fashion, were anything but perfect, and are
pieek affairs with X dark red spots, though much
harder than their predecessors. Most of them have
some very small lines on them, though I can not exe
plain how they were made. Some specimens of these
wares have been recently unearthed from some imperial
tombs.

Two hundred and twenty-seven years later (200 A.
D.), Empress Jingu conquered Shinra (part of present
Korea), after which the intercourse between the two
nations became closer. More specimens of Korean pot-
tery were brought in and greater knowledge of pottery
was acquired to a great advancement of the art, among

other things,

ethebnatts aeonw to" ad +i. With i siilg Reotet
ats ensotod eae »tniido to seas ‘to ererdog eit ‘ever -

k i
ob ae 5

~2ea to (sw eave xhoed aeviten ent nwo te ovat oF be

eved saum ,1svoWod ,esrsew asso ‘fest onto . “vetettor an 0
sit neswitsd setvostedtni ae |,eras stored ites Hdgnors a
eaidt et0ted omit amos: 10% m0 ‘gitton nee bad aaotten ows
1st rev Fon , LEAD’ to tobitath wsoll ae aaw anaes i m iP
‘sport witheaees Srunson19 2 Hotaw ‘tear “amegbinag et ai ie

| sistautie ak (sgsitiv abt

- “4a3t 8" Sbant Aaitodt ‘yhotset nant Yo gotmars9 edt :
ss bas tbat ieg ‘tad’ settddyae stow otas* neo oe |
~ foun fis rons qatoga’ het atch * wtiw attests deren _ :
“gait matt to teoM " aronagosben Shetty aecht “ebead oe | :
ol x8 ton 159 bt tasty «nent Ho eontt ‘fies ‘pile ae a

-

i "eae? To ansmiosge exe |. ab sar eroW oad woot cleiitisil
ae oan! emo ser pemisserul 2 R907 ne as

a

as: ca
or

Met

A 608) ides ad inorsacehals ae

— ”

5

Rg Sine

|
~~

T--6,.

Sankan (present Korea) consisted of three parts
called Shinra, Korai and Kudara.

Many of the Korean-style pottery of this period
have wave patterns inside, and nomena te designs on
the outside, in parallels, crosses, or rhombuses.

Even now some Satsuma potters decorate their wares
with these simple Korean designs. The clay is put oi
top of a wooden mould with the wave design engraved on
it, and pressed out and shaped with another piece of
wood that has some line designs on it. (According to
Mr. Miura). .

The Korean-style ceramics of this period, which
have been unearthed from various places, are blue=
black in color, very hard, and much more deftly made
than those of the earlier period. From the uniform-
ness of hundreds of them in color as well as in quality,
we mbent infer that the furnaces of this period were
built on meeR more advanced principles than those of
previous watteds. They were built horizontally, I
presume, like those we see at Inbe, Bizen, or an old
one’ recently found in teulinie Island. After baking
scores of days in these furnaces,the contents were sub
jected to a smoking-up process in a smoldering fire

| made by burning some pinetree needles, before the fire-
hole and the SnéxeeFiue were covered up with mud. The

blue-black color of the wares of this period, which are

i® aa ee Meee se ew oT ae ee

biwae eins Yo yiestoq ini osit 30 ee
#0 Ana Laee entt emos bas ssisxedthiphagie :

“ot

; eter oneles: ests teat sawn cu ak
a ue 5 otow atastnee ont af esau se i
hig Seaie 168 ant onto: at 12990"

ely eae . sat ¥

ahi ten
\. ¥

ppp |

——————

I-~7,

made of red clay, indicates that they got their dark
appearance during the smoking process.
Two htindred and seventy-two years later, in March of
the seventeenth year of his reign(473 A. D.), Emperor YuX-
nyaku, says the same book, ordered the imperial potters to
make soem "seiki" (sacred wares) to be used in his daily
worship. The head potter, Ake by name, was called Nieno-
Hajibe (sacred-ware potter) by the private potters of Kusa-
sa of Settsu, Uchimura and Fushimi of Yamashiro, Fujigata
of Isz, and in the provinces Tanba, Tajima, and Inaba, By
this record, we can see that the industry of pottery making
was fairly distributed in several provinces.

Kusasa was in Kawabe district of Settsu, now call-
ed Nose district. Its locality must have been some-
where near the present Shukuno, where there is the Kue
sasa temple, and whose villagers are still engaged in
making some earthen bowls.

Uchimgra is near Uji of Yamashiro, where is made
the Asahiyaki.

Fushimi is in Ki-i district of Yamashiro, in the
neighborhood of which is pita ieee The present pots
ters of these two places are descendants of those an-
cient artists.

Pujigata was in Isshi district, Ise province,

where the people cea on several occasions unearthed
relics of ancient pottery.

In Tanba, there is a place called Haji (meaning

#isb 1kadt toy. yout fads seteothat rs pet to slit
on saas0079 satsiome ods. gaiiub sonstseqgs .
to dotsi ni <tedet a188Y, dvt-ytneves bre berhatd owT
-XuY 1oreqmdt ,(.7 +A. Eta) maton ati to tesy ddasetaeves edt
oF siaitog fsinvegnt eit boxabto clood emse. std ayes. pinisyy
yitsb atd at beew of ot. (20186 hovose) “bibsa® greoe extent
woe fi befigo aew. omen w. oot Toston, basd ai? -qidetow
=#au% to atettoq etaving ond vd (rettoa aiew-berose). edi (al
stag LwT Otis ome to tetidest bas Swot cot evatte®, to sa
“EG . eadenl bas Sigh be siasT agonivortg att ak bas exal ¥o
—— yiettod to eitasbat ads bone 298 59 ow ,b10909% atdd
.2adutvoug Isievea tik pesudtsieth 2 badass asw q
| ~£ Lao won setie2 To tolxteib. odawsi mi asw seseuX ... -
somos rood oved tau, xtileool aI .tokutath seol be
0h ent at oxlsht rede conus tnesend. ent te0n ote
oat beasane [Ltte os etogsiitv seorw bus 2Lamed sae
pet ii _seiwod: mecitise eno8 gation
obast. ak onest “or dana Te a0 aden at srt stot.
a sci aie let ae ea 5 | stilayideea aft
oft : conta 20 totaaete, bob ni at tombe |
stoq. suosoxq. ont, ceidieali® at aoinw Yo boonteddia tem

eal eaond to. fas -“- oe eovatg ows agers %o ates

- apes ks _estadasantaate

Te-8,

Potters).
In Isuzhi district of Tajima, there is a village
called Hanino (meaning Clay-field).
“seiki’means sacred wares and are the same as
those called “imbe" in ae annals under the tenth
year of Emperor sui, ieee seem to have been very
simple and archaic things and were naturally kept sep-
arate from daily utensils, which were of a little more
elaborate make-up.
According to the List of Official Organization pro-
(673A.p)
claimed in the first year of Emperor Temmuy, we find that the
government ae vastae after the interests of the ceramic
industry under the charge of the Pottery Bureau, It was
about this time that the priest Gyoki was going round over
the country showing the people how to make the ceramics.
His name became so much associated with the industry that
any archaic pottery goes by the name of Gyoki-jar or Gyoki-
yaki among the people. It is supposed that he started his
instructional trip from Sueno=-mura (meaning Beneeiain ville
age) of Izumi, visiting ail te provinces, where any sort
of pottery was being made, He is also credited with havir
done for the primitive people of his time some engineering
works, such as building embankments for unruly rivers or
spanning bridges over them, thus contributing a great deal
to the welfare and general advancement of the people.

Gyoki, of Sugawaraji temple of Yamato, was dee

scended from the royal family of Kudara, Korea. He

Beal Sy uur |

a

| ) s(exettod
‘egattty s at sted? + ier yo tobiveth ‘txswat al
albEs! Sayel9 actasom) ontnalt pedias |
a8 omss edt oie bas e189 berosa ansom “bites” :
: dined ont <obmy efenne ol bg I ani heliso epee
wiev aged eves of meee ‘yest | are Lue ToTeqrmt, to. taey
793. tqou vifsist sc e18W hae arene ofatots hoe: elguie
- 910m sistant s to 19" slots sattensoy vite mor ets
7 qu erism sterodets
| | <4 ssoudantnmn0 £at020 2 +0 beh sit of Arthroook 7
eit teds bait ow Feet ror squat to toay deat, oift ne bomtslo
. wees ont bl ats orsdmk end 19d ankians, ASW tnemnoveg
sow $I -uaorwh viedsot ont to ‘epteito ont te bas ideubal
"TOTO: ‘bas or patos eaw Exoyp saoixq ent test ont ceed gad s 3
_spotnst92 aed om a ot wor S29 and cheers grinude ont
“ded etteubab ocd sit ew hotatooase rouse os emsoad ems ain
blow ‘to taiebioyd ‘to amare att. te nue. wradtog otedois wats
eka botiste ort tented hovoaqus ak $ “sefqoeg ead Boome bisy.
= Lftv atefoot0 gaingom) eronsue 07) aint Lenoktoursant
dt08 ne oto seeoatvorg, web its aai}tety hours to (99s
mtvert itiw bettbero ont at ot. obs gatod esw ytettog to”
gatroenigne emo ont ‘ats to alqoog covidtotay ont tot 9aob
10 atovin Lirias 30% atrsminsdis gabpctnd aS. fone. _yatrow
[ised $8073 8 gab suatsta0> ext ior “19% nog stud gatonede
; slaoeg ¢ ort? ‘tO “ treweonsybs forone 3 aint erst iow on ot
Bae eaw \o2anet to ofumat tbetomaa 20, blow

to Es F
Feats sant | ee tt -_ st ii

ee Ere

I--9.

was born in the seventh year of Emperor Tenchi,( 668
A. D.j, and after he became a priest when he was twen-
ty-four years of age, his life is said to have been
entirely devoted to the religious and eeeation enlight
ment of the people, until his death o® February second
of Tempei_ twenty-first(749 A. D.). No details of
what he had accomplished have been handed down to us,
and so how people came to call all,ancient porcelains
by the name of Gyokieyaki is not sufficiently account
ed for, but I am inclined to think that the use of a
potter's wheel was started by him. |
About the reign of Emperor Shomu (724-748 A. D.),
Gyoki must have been in the prime of his age and of his
industrial siete eet Specimens of this period have been
handed down to us among the treasures pavereeae ts Yamato,
which excell by far, both in quality and workmanship, those
of the previous period. |
Shosoin is the famous store-room of treasures be-
longing to Yodaiji, Yamato. Its precious contents
are the bequest to the temple by the emperor (Shomu),
and consist of the personal effects and treasures of
the emperor, supplemented with some Buddhistic utene
sils, musical instruments and weapons of the period,
Ever since it was put under the supervision of the
imperial household department shortly after its estabe-
lishment., the treasures have been very carefully kept

in order; special commissioners have been appointed by

trig iine ‘talusee ‘bre auptat ion ole ag ree x 2 AEE
broose. visstdet Bo ditssh eid fides eetqoor. edd 0 daox ia |
Yo atietes olf . et: oh ene )tantt—qtmont toque? i>

an ot nwo be bran need ove, bere tiqnosos batt. od ‘teste
anteleortog tao tonsa itso od ome ‘etqoey wos: os baa

«ti nvooos Yltnstotttwe ton at tala tXOND. to. sini ‘edd os |

. & to eau. ont, tonal wearkett ot benitont fis it, sud a bo .
a hs Te gmt Yd bedie te aw teentw 2 >

Ot A BaT-ACT) mole roredaM, To mptor end ‘fuodh s #n
eit ‘to. brs ans eis to. ont aity inf mesd aved pedi fy

need, oven hotteq ett to anemioe 2 seattivitos fattevbat

| (odamst ‘qat-osonG nt aeiienets oft aaoms: eu oe sob Pobast
: saond t «atstentacat vom bas’ vaeteup me dsod. iat e ‘eae 2 state of tie :
~od. asians + to woot-ssese | avons galt at

“adastaos avotoexg, esl, Sat . |

tg «(emo ‘torsqms - ent yd efyiee3 sit 08

~, a+ ye " gta
"a 4

to sowesort fap agootio- hers it

_= “ee 2 ee

I--10.

the throne every fifty or one hundred years to look
after the airing or repairing of them. Some four
years ago, five government officials spent ten days
in there, but they Sunil wae over only about half the
items of the copious contents.

Last year, when about one-half of the treasures
were exhibited in the Yamato Exhibition, it took the
officials, five in number again, twenty-two days to
take them out and restore. Days and days were spent
there afterward by three of the officials, who were
instructed to go through the rest of the collection.

On these two occasions, I was fortunate enough >
to be in the delegation, and to have an opportunity to
examine this rarest collection to the great augmenta-
tion of my knowledge.

The ceramics in this éollection are fine in tex-
ture, hard in quality, lustrous black in color, mellow
in tonesj"very even in shape, and eee marks
(fine concentric circles) on them.

In May of the second year of Bunkiu (1862), when
the tomb of Emperor Jimmu, which is-at Misansai, northeast
of Unebiagama, Yamamoto-go, Takaichi district, Yamato, was
repaired, some fifty pieces of ritual ware (apparently) were
excavated, of which Mr. Tori Okamoto, one of the officials
concerned, made some careful copies at the: time. Those
shown in Figs. 1--26 are some of those fifty pieces.

Most of them are said to have been hand-moulded, smaller

aool og e1s9e botbaait ono 10 |
auot emod. .meatd to gatabarei 10
| aveb not tnege afstottto ‘trommi8wos evET cone snc
~ eft. tisha suode vine 1970" os bios emt sud, e180 ti

7
ct

eatno 008 oust qos ot ‘to: ansee

aoiwensid ent to es -sit0, ‘tuods: nose t88y teen <7
ens food of mottididat od amy edt at podtsices orow
ot aysb owd=ysnowd citsges ‘soxtaner nt ovit ratetortto
saoqa stow aysb bas eyat o. etoteot bites 230° nasal etsd
stow oriw ,alstottto ett ‘to sotds ed ‘brews oft stent
sobtoeioo ott towest sat da irorte o 3 Oe Sesoundent

ys oT at
wg ee -

‘sHigwone otsasdiot ecw I anotesso0. owt saodt ts Piero) |
+ ysiawsioqqs ns eved ot bas (wo tsepeteb erit fit ed of
-~stiteomes | ¢e0% edt ot adttoel Loo doors etdd Sabminxs —
OF OR 1 Rg A - segbetwont yn to. aon
xed ok Perey ots nodvoettes aide nt sstmst9o ot
wollom ytofoo ft aosid euortanl eotiteup at bras cout,
, ett am "eeertn® abet Save sipsavie mk weyS ‘yiew gonot we:

ate. amet tro (aot o1to otxdnesn05, ontt)

a Pe

.
i

eS (900) wise 0 oe Stoose ond te vei are

cue)

I--ll.

toward the bottom ba shape, and very old in appearance.
No*magatama” (primitive gorgets) or"kudadama” (annular gor-
gets) were found with them, and I am inclined to think they
must have been some ritual vessels. They were put back in-
to the tomb by the government order.

Thésé-shown°in Figs. 2,°4;°6,°8, 9, It, and 22
correspond to what is called "tsubo" in Wamyosho
(cyclopedia of Japanese nomenclature). They were
soft in quality and reddish in color, more or less
graded.

Those of Figs. 3, 7, and 12 were soft and blu-
ish black, and looked especially old. They were of
a different make.

Figs. 12 and 14. These two pieces were blu-
ish black and brown, and soft. Though they had
some slight patterns marked on them, yet in the,gene
eral make-up they were similar to the preceding ones.

Pigs. 5, 16, and 26. They were soft and red,
or graded red. They correspond to what is called
"takasuki" in’ Koha nseh tks (Book of Ceremonies of Ko-
nin Ber iod--820-825 A. D.)» They look particu-
larly primitive in their make-up, Mr. To'ri was
keeping that of Fig. 26 for some time, but later he
handed it over to the Imperial museum.

Fig. 14. This primitive piece was soft and blue
ish black, and corresponds in shape to what is called

"mohi" (bowl) in, ,Wamyo-sho.

=
rr

:

-

7

> -:
‘a

7

=.

| .coabineian one. bfo.vree bast
; “103 talvans)" snabsbwt"10. (ates Pg
ee unbety wail beatioat me bas sont itt eninge evtow
ant toad tq etew 'yernT .efoasev fssths omoe peers i oe,

SS hha yer ST gate ye as samt at: woe eon?
oneoywmeW at "oduad™ baffss ek Fst et buogeer109
| s16w bch a » (sistelonemon seonsqe’: to atbsiefoye) es
‘eeor tO eon Side otas at feibber bas ethan ni toa b
a eet 8 RR a \ebobsta

ald bis stos stew St bas .V.o oaptt to 93 oct?
to. svew yet . blo yffatosqes bedool bus hice ses |
ars soulnm drovettib s
eee te asoeig neh seont df bas Si seat |
» ban yori ao ss08T ¢itoe bas ,aword bas xoatd et
- “wnteg aot ak $Y gitents fo beaten amos dag togife smog
',aen0 guibesstg oft ot aobite eto godt. tal exe
| via bie ttoa stew qonT - “43S bins- aL ae eaatt | |
oe beLLso at tert ot ‘brogastTt9o ont whet bepom a
i. it ‘on to aotriontoxe9 to toot) me : |

e19bto bnematevos, ont a G0 eas os |

[--12.

Wey eles This piece was also soft in quality,
brown in color and bulged out a little toward the
bottom. It is not infrequent that we come across this
shape in the wares of later periods. Usually, those
having some designs on them belong to a later period,
but this piece looked just as old as ee others.

Fig. 16 shows the same piece as Fig. 1 upside-
downe

The one shown in Fig. 18 was also red and soft,
but was apparently of a different make. |

Fig. 25. This soft and red piece in the shape
of a fowl was used in the rituals in place of a real
fowl. It also looked very old.

All these mentioned above looked to be hand-mould -
ed e

Rape) LOR een. ond eos These bluish black ones
were a little harder than the preceding lot, and did
not look like hand-moulded works. Evidently they
were put in later, on the occasion of some worshipping
rituals. I do not know for what purpose No. 23 was
used.

Ate as BN This hand-mculded piece was bluish
black and very hard. It must belong to a later pe-
BOG. possibly a Korean piece, but its use can not be
traced.e This piece is in Mr. To'ri's hands NOWe

One can hardly realize what a hard task it is to

make drawings of such unearthed antiques, especially

“y creamy me toa cele a Baw ow sootaehet 4
‘ -. ent brswos oldthe. 8 duo begiud bas | noses ab
atad gaQtos omk0D, ow ies pianias ston te silky ~~

scant ViLeved scoala
hotted, ‘tetel ape sgofed moctt no alas ome: esata
satedto oft 26 ALo. as tent: betoel ovate ent: ond

wobleqs L ort ee e9etq, emea edt awoute OL att iy wee

z pi ‘% scwos |

ettoe bas bo oats. asw ar okt at woe: 910 yom : |
ee ctem tasrettt b # E®. vitnorsaga. ‘qa $i 2
“oqssie. eld mi. eooty. bert bas Hoe aot ate «Rit |
far. 8 to 99alq nt aeleutin.ont mi. boas asw ital ‘wae y
«SLo YrSv botool eats ae oto :
| ~ b uom=bas ed of beloaL evods: Donokenen saont, ao Ms |
eno Anois dekinkd sasatt ) ma (98: : 40 oe ott
(Btd bas ,tof gaibeourg edd mast, nobel eltsel, Fr) oom
| Nedd Vltnebivit ...axtow ‘bepivomednsst eltL toot an “
- antqaldenox cal note ne. ods a0 pairs mt ol 08 ee
20 £8 401 seoqre. “

Ge
~,
irre
i z em
fac ee
Wie Mae a ; : ae et hie or | = I
“ait ae tome nest
Aree aah isha oe LE a) oe nee a
“-

—

tat tadont

em te

Te=+13 @

when the colors and shades of the wares are to be re-
produced as nearly the same as possible as those of
the originals, but Mr. Okamoto, who was not only a»
connoisseur but much of an artist, was not at all at:
a loss to £3 eve the desired colors. He struck at
the very happy idea of pulverizing some broken pieces
of the piece he wanted to reproduce, and using the
powder as his pigment. I think even the earth, in
which the pottery was found, can be very profitably
used in copying the besmirched effect of the originals,
In the eleventh year of Kwansei (1799), some fifteen
pieces of earthenware, evidently some utensils for Shinto
ceremonies, with some stone utensils end jewelry, were dug
out from the grounds of the Miwa temple, Shironokami dis-
trict, Yamato. Two of them are reproduced in Pigs. 27 and
28, It is known that the ritual utensils of the temple,
as is recorded in the Mannyoshu (famous Poetry-bcook compile
ed in the eighth century), were interred on each occasion
after the time-honored tradition.

The two pieces showm in Fig. 27 and Fig. 28 are
bluish black and hard. They seem to belong to the
same period as the one shown in Fig. 20. Usually
wares of this shape have the wheel-marks on them. So
far as we can judge by their shape and color, they seem
to have been made after the Korean style.

Those shown in Figs. 20.and 30 were dug out in

See BAY Ble eT

-o1 ed of o%6 sstew i ty sebsria hha areLoo odd sentir

to ‘9e0Nt 45 afdtesoq as ene: ont ¢itasn as beouborg

8 ‘Alito” Jor asw oftw 09 omaxi0 wm sud satentgire ont

te ifs 38 ton eaw sdattrs m8 to doa Gg “weeatontos

te xomite oH” sBtoLoD. besiten sey 0, t oF bol 5

asosty nexord smoe “gatstioving to sebt recs UIE ent

ent natey bas ,9ouboTGe1 ot betnew aa Sony bas to

ak ,ds389 ond neve untdt 1 themgiq ait as rebhwo

yidstttor CIV ed ikhs _ piv dew iad Foq ont ito ketw

elanigind edt To atte hefortoeed eft gatyqos mt beaw

neotttt smoe . (8@PL) teanews to THOX sinevele ont al

ornine ‘oY eltancty sioe vitasbive (Sawer 8S 40 esoelkg
gub stsw Vilswet. ‘brs altanety enote save dttw ,astnomerso
* Set tlomo rte siqued ‘Swill edt to: abuso eft mort Jvo |
bas TS .2RkT nak he owbotges ets niget? to owt sotsmeY | Be cs amy
i 1 famed eit to eliansty reatin ont tent awort Bf 3 a
-sLiqnos aAood+yiiset eon”) udgoacalt ent nk bebrose% at es
n9£88990- Hose: nd ‘potnedat exsw « (cusdiiee Atty te ent at os

shee

shottihet? betonod=omks eat 1stts

a16 8s git bas %& apit mi ‘teworte aosetq ows ont
eat ot gaoled of moa xe: a brad bas toatd aerate i
Uitatey =, 08 git at anita onto att. eb bobteq onad
92. "sme 0 aiinane Loedt aut eves? eqade ear to “eorsw
mee vas ‘hatea bas ote ubedd we apbut fe9 ow a8 ‘ah
Breit i ‘ates soto ae xs seatenahe need bart of

T--14,

Honjo Tokamachi, Morokata district, Hiuga. They are
on exhibition in the imperial museum now.

The bluish black jar of Fig. 20 is a very hard
piece. It seems it was made with a potter's wheel,
after the Korean method, like No. 28,

Fig. 30 corresponds to what is called "kame" in
the Wamyo-sho (cyclopedia of nomenclature). It is
soft in quality and graded red in color. It looks as
if it was made partly with a wheel and partly by hand;
though it is very probable that it is entirely hand
made. In the days when the potter's wheel was still
an unknown thing, the clay was put on a piece of board,
on oe it was spread out and moulded by hand, and
then some finishing touches were given to the roughly
made pieces with a sg bane

"Kame" is so called because its shape has a reseme-
plance to that of a tortoise (Kame).

The piece shown in Pig. 31 has been kept in the
Shinmon temple, Usuki district, Huta. It is entire-
iy hand-made; it has very fine lines on the outside,
as fine as hairs, and wave-designs in the inside, like
No. 32.6

Eleven pieces of exviiveice were un@éarthed with some jewel-
ry and metal works in the Kwansei period (1789-1800) from a
tomb in Uyenomura, Gunma district, Kozuke, traditionally
attributed to be that of Prince Toyoki-irihiko. They were

all wheel-made, like the one shown in Fig. 33.

See |e
Pe 7
aa

ee
i,
,

hd ‘oat at ret 908 ger se aakt nt ogwoirte soetq ont cate

ete vert sul Dag stetora

ain }
ihe

it
a oF

| 88 om ows { bositon 3 nagoX ont 10d"

at ome” ‘betes at Satie ot abaoqesti09 0s a .. “ ce
et 2 oe + (sautsLocsimon ts sibeqofaxo) onfa oral oat |
8s atool $r »toLoo at bet boherty bas Mat laup ad stor
baad yd yiersg bie . Leeitn a aitiw vitreg. eb aaw th ua
~boed ylotktas eh of asit oidedors Sal et at sasorit
Lhite ea Isoctw Bas fy att. sre rr aysb ett al “s9bau ' ve
gaury to soot 8 mo dig ad wee ont gana, serene re
bas , bowl ~d bebivom Baa to bssrat enw 3h. dio tet to Pate
Xingvot ent of, ant anes, asdouos antdataly bic08 nodit ie x 4
7 alates a askew 2909 oh oneert

‘amo207 a ean seals ott acuaood better oa at ae i

be Comat) seiotios a to ted ot sonsis eh

Part. +
2 Me a
n

souitae ak a ee dobtterb dive «2 quiet ‘neous? 2 nd
?, 4 obtetue edz ‘no gent. OnE, rev emt St ‘poban-baest a :

Ae
if yaa

ae anhee: cas ae bee sete ooh

I--15.

Fig. 33. This piece is bluish black on the oute-
side, but it is made of a chestnut brown clay. It
was made with a wheel, and touched up a little with
hand. Its quality is very hard.

People usually call all the ancient earthenware
"magatama-tsubo" (gorget jar), simply because some
gorgets were found in them. But it was not the gor-
gets alone that were buried with the remains of the
dead, but all such wares and utensils as had been used
or fostered by him were sent to the tomb with him.

Most of these things that were buried have gone to dee
cay, but the gorsrets and vases have survived the influ-
ence of the elements, so as to make some people think
that these latter were the only things that were buried
with the dead; which is altogether wrong.

Some also think that any and all of these ancient
wares are to be called "itsuhe" (sacred jars); but as
amatter of fact, they are to be classified into two
kinds, the sacred or ritual and the every-day wares,
though we sometimes come across pieces which are rath-
er difficult to classify. Traditions help us to find
out the uses of such wares, but when we do not have
any or when they are not very well founded, the local-
ity, where the wares unearthed and other circumstances
may serve as a useful factor in determining their uses.

It is not infrequent that some crafty dealers

dttw efttil s qu _ peitouos brs Lapa s Atte bom a; }
ae * sbred Trev at vat teu | aor ) Seeaual
- etawnesdti8e tokens’ edd Its {leo yLfeves ofqost

ema sausoed eiquita. CBE tog tog) "odvad~iinatenan"

= 108 ants fon enw ti tu® med nt bao? oiew stepyos |

ent to aniemey oft Atiw be trod etew tatt snols etsy
pow mood bert ee efteredy bas aevsw sours tls oud (seb

ota Ntiw dmot eft of Fase orew abet Ww bere da0% 10

sh! ot enon overt betusd stew tant enmists weet id taoM
pitni ent beviwiue svat aoasv brs ater erlt dud ge:
antstt sigosq smoe oul aan ot as 0B atnorets. etd ‘to eon

bokwt evew tatt agattt vino et ersw qottal eos taste
_.R0o1w vesitogodits at dokdw | {deeb ent ast :
| “gastone aeond to Lis bre ene tect aniad oats omoz

as tod j(atst horse) Medtun dee belize od ot ons aoiaw Pa
jl “ows Beak: beitiaaals of ot ets vane ybost ‘to Asdten S eee
ne {30TeW qabeyte ts ont bee, ‘Laintin 10 borone ont eine
ater ors dotaw Prrita asoros! sino 9 ‘consctanseles Peni
‘d batt ot eu ales anoietherT vite | ,
coved toa ob ow estw ere yeotae to ON
“ateool edt ,bebawot few v1ov fon ore ve wm ye
Wiadeunaniies bees cen boats 2, aetaw enw tt

I--16.

greatly transmute the true tradition or locality in

such manners as suit them and ingeniously ascribe

their goods to some famous mausoleums or tombs to en-

hance their price. It will be well for any archaeol-

ogists to be very careful in their judgments.

The imperial tomb at Ohnabe, Soen¥kami district, Yamato,

was evidently built about the period of Emperor Ohjin (201-
310 A. D.). The mound, which is five or six cho (cho is a
little over 1/14 of a mile) deep and three or four cho wide,
is square on the front and round on the back. Its walls
and the moats that surround it are built of earthen poets
filled with earth, piled one upon another.

Fig. 34 shows one of those pets. It is reddish
and soft. It measures nine or ten inches in diameter
and twenty or twenty-one inches in height. Along each
end there runs a belt, about midway between the middle
and the end, and there are two small holes about in
the middle, one on the front and the other on the back .
It has some figure designs on the outside. Fig. 35
is a fragment of the same. ee all hand-
made.

Ninagawa Noritane.

March of the ninth year of Meiji (1876).

Sai Coan RMR ike tri tik is ag
f F , rh a Fs ry ’ ‘ ; =
f i ila

a r ’ 4 Bs

net Yet feoot to swsthens out ihe sitidegwat yitaors
. adivoas yee tregat. bas orl dhe es eTsnnect dove
“m8 ot admot 10 emefoersm estos? seme. ot boos sions
~losstors yes 107 Liew of ftw tI. 4epiiq sleds soned
| satnamghet theilt ne tirenie yiev sd ay. ete ino
, ot smsY ptottedh tme¥noot ,edandO ta dito Saknaees: oT,
« £05) ni §ao TorSsyme To hed tem egit tuods erties yLinebive 28v
s et off) oo xbe 40 evit ar dot cw <taivions of? 94.0 .A, Lt
% eitw odo xnot x0 eer? brs qeeh (eLim sto aa\t tevo elites ‘
agtow ett etosd anid mo bawoy brie trot onft mo otsupe at
aban noxtize to Mind ets th bavorme test atsom silt bas.
. 2 stottons noqu eno beliq itis ditw pene
| setpbet af sf seteq saont to eno ewora 82 .gtt
~gdeimeth nt sedont wed wopentm eemvesom tI .dtoe bas
. oso grola atigiort me eostont eto -ytoaswt "10 ydaews bas
" efbbini ext nvowsetl Geubim tuods sled # anu erent bao.
i ‘ab tuode aelor Lara, ial eve ovens Sos ,bne ont Sane
: » BONG ont no ‘edto end ewe sno? aft no.ono ,elbbin, ont
ae att: .ebieduso ert 0. anytest eis? emoe ass 31
abies fis one eSnise ont to tromget? 8 at
| a kane geben
| ones x0 ‘pwapartt, cate un
re ce tg. rire yee pir icaesh Hite to 1a8% dtnke est to sovsi

Oe

Kwanko Zusetsu

Illustrated Notes on the Antiques.
Pottery.
Vous eh,

a By

Ninagawa Noritane.

January of the 10th Year of Maiji.
S77 <

Time was, in the prehistoric period, when the earthen-
WEES , or wooden ware, or hard ware was‘still an unknown
thing, oak-leaves pinned up with pinetree needles into va-
rious shapes were beiag used for the culinary vessels.

When they were shaped as hollow as a bowl, they were called
"Kubote" (hollow ware); shallower ones like a kasa (a cone
vex straw hat) were called "Hirade" (flat ware). More flat
ones like a shallow box were called "Hirasuki", while those
very deep were called "Takasuki". These improvised bowls
or plates are not only mentioned in the Jimmu-ki (annals dur-
ing the Reaien of Emperor Jimmu), the Yengi-Daishnosai-shiki
(Book of the Daishosai Ceremonies of the Yengi Period--901-
922 A. De), and the Wanyosho (Cyclopedia of Japanese Names),
but actually they are used even now on the occasion of the
time-honored Daishojin or annual Thanksgiving-day.

Then, the most primitive forms of an earthenware call-
ed "Hiraka", "Tashig¢ri", or"Itsuhe", according to their
‘shapes, were brought to use, as was explained in the first
volume of this book. Some wooden wares and bronze wares
seem to have been in use shortly after this period, as it
says in the Nihonki that in the first year of the reign of
Emperor Sujun (588 A. D.) an expert of a turner's wheel
was sent over from Korea.

Vessels used in the Nara period (710-784 A. D.) were
either wood, sometimes plain and sometimes finished in
black lacquer, or of metal, or of glazed clay, as are evie

denced by the specimens in the Sho-so-in collection.

ee eel
hy
vag a

helfso siew waa ,iwod # 86 \weittodt | Bs sea, Siew tone 00
“100 8) seat & eur aeno rowolLena i(etsw wot fort) Negounar
telt.stoM «(stew talt} “obattH” belles 91sw. eres wette xev :
saont sltdw , “hive sili" helilss dal xod. wed t at: & Priia geno i
| alwod pidteahind esenT - ."isltrassle™ beliso Stew geen wer
-t0b efLsane) tx=soundt exit nt benetsnem yiao ton ea8 aoioly 1
hildeetseotetsd~igneY ond «Comm “orn to ‘og heel et sat
~L0@--boitel ignsY art to esinome te) tecore tod ens ‘to. xood)
, (seme sesnaqel te si baqeLoyo) oreo wet. ont bas htt ok son
ond to mofesooo ont 10 Wor neve bsev ots yout yilewios td :
+Vsh-goivigaiasnht Levans 10 at tone ted petonvinsnt? |
~Ifso siewnendise 12 te entiot evidimtra seo ond nest
thedit ot gatinonos «Menuetto | eMiatitest™ , Selete ie
ie | ee texit ot: ne bent eign eo 28 eoew bof tego orew eeeesie
asta denotd bas estew stsboow eno? wfood aint to oméfoy ss
f ean nik need over ot ae
0 agier ed Yo 180y, dant? ont nk ne ae 1 oof
_ Reaiie: etneniis | a a ewe me m GE oh

dE ae bobiea ebiit tedte ‘utode

a . in orow te Pe
th aca aE “bodotnts & ee

TTl--2.

These glazed wares seem to have been used for the first
time about the period of the Emperor Shomu (724-748 A. D.),
put evidently they are not of a native make. They look
more like a Cochin ware.

The manufacture& of the first glazed ware in our coun-
try may be ascribed to the latter part of the Nara period,
but so far we have not been able to prove that by any mater-
jal evidences. It would not be altogether unsafe, however,
to think that they were being made in the early part of the
Heian period (the latter part of the eighth century).

Daishojin is the festival, at which the emperor
announces to the celestial and terrestrial gods his
succession to the throne.

Shinsho-sai is a Shinto ceremony for thanksgiving,

on the occasion of which new crops of the year are offere

ed to the various gods.

a tent ent: aot been m evar o:
Si ree ae ‘sacsase) ‘oil hit #
- door wee os osolan oviten # Ye to

at) A

ical

“=nyo9 180 mt phdoor tla ext Ws: te sete doe wren ext or .
botied sitet ost to Pag et tst, ont oF bedtteas ed eit
re} ait une yd sald evo 3 etde “nbe6 00" evar ow +BY be tnd
| “Tovewos otsanw ‘entegotie od tou biuow $1 a sonsbive me ‘
| | oni. ‘to sisq yites edt nt ebarr: -anted “ers ent tent Sat ed os |
xe 4 (viwtaso- Ntde te srt ore iid ‘nettat ont). bolted ‘Haren
| toveqme sift Kotdw te: cfevitest ‘ent. at Py toretsc ase te
aid ms feirteets? sil ist teetea edt od eeontonns
Mes) SSS ee ‘anid of notesbonue |
Sabvigadasiy “0 ‘eromte"80 otntne 8 ar? teesotetts?
-t9Tto, ste" 1S8% exit a eqoro wom Hokiw to nokesoso aft ito.
ne 7 ee . Se Mae ae sabop. auoirsy ‘ent ot be

“* .
Dy Cty Acai. ms Py
de i

II--3.

Glazed Earthenware of the Ancient.

Some of the earthenware made prior to and about the N a
ra period are very hard and covered with a vitreous matter
that came out of the clay itself while in the furnace, as if
they were artificially glazed. This sort of pottery is call -
ed "Jigusuri" (Ground glaze).

The Nara pericd covers the seventy-five years from
the third year of Wado (710) in the reign of Fmperor Gemmyo
to the third year of Yenryaku(784) of Emperor Kwammu,.
Some hand-made ante-Nara wares and wheel-made poste
Nara wares are covered with a vitreous matter that was con-
tained in their constituent clay and came out during the
course of baking,melted by the high temperature. This
ee eae ae that, unlike an artificially
glazed ware,there is hardly any distinct demarkation
between the glazed and the unglazed parts.
The glazed wares used in the earliest period must have been
imported from China and Korea. The few specimens we now
have in the Sakae collection are none of them of a na=
tive make, but seem to be the same kind as those that we u-
sually call the Cochin ware.
Among the ancient tiles, which are usually green,
we distinguish three different kinds, the Korean, the
Chinese, and the native makes. And it would not be
altogether unreasonable to suppose that other glazed
ceramics of the earliest period were also of these

three different makes like their kin, the tile.

Se i . suka edt te oxen at
ne a ae aga suode bas ot toltq-eban - o8
‘T9832 sm euositiw i & note betavoo bg bred yrov 918 Bolieg ae
ti es _0atrint ost tk of ba those yato: ‘edit to” uo moo cre “s
= fles at cpa to Pr08 etet | sbesats, wifiatorrtars: ereW ‘vont a ss,
| | (oRaty Sav) Stengel he
° ator ersew ‘exbrugteerse ont axewoo | botey etal Ce
ovmmet ‘ros gat to nylon exit mi (ors) obe ‘to 100 brbdd sets
, ew iticeieeds to (Qes)etecine to seo ‘briny enid ‘on
oteog Shan Leone hae BO" LW sxsll-otne ehamebrsit omoe-

wa

-109 aew tent "193 t ae atoort by * Hd tw ‘he-isseb: ste sonst gta

iF

ant qatib two emso Dre yao trenditenos ators at bontst
atdT sStideT9qMOd aigid ant ‘eh bot Lom gabe to eeroo
yisioitidrs ne oxhinw Perit mi dt 08 ék. exely Donuts
“not tax anos tonite kb YAS vibes at eieine otew pesaln
adteq bassignw ont. bre sehen ort nosmted |
eee ove sat botred daeiliss erit nk ‘bees eerew besala oft |
‘wort not enomtooqe wet os? 290% bos ante Coe bed xoitt
san cs to ranted to enon ote aoktosi ion nt-oaosa ext nt ont
tig: wet ew vane eeortd as Be emia ond od of moos tud. «oie ovis

%

eaMOCe 1 oti Sars) Th ease set8w ‘11900 ort Lis0 teu

- “8
= i

i
* a

‘ on ; i | yHeety vitewe, ors 7 pootte. tnetons: ontt an0mh
2 tet a “sero exit sabat ‘tows TheD eotitt He tig btetl
act ae ae of ton bhuow # bk seeder ovites wad :

- =
x
Dhl
ed be

eS. = ae.

II-=4,

1 nh
Todaiji is called, though more rarely, by such

other names as Daikesonji, Jodaiji, Sokokubunji, and

0 : : ;
Kongomy3-Shitennoji. (By the’ Yamatoshi-Geography of

Yamato).

It is in the Soyens kami district of Yamato, It
was dedicated, to a Buddha by the Emperor Shimu. Ac-
caiing to the Nihonki, the emperor ordered the priest
Gdoxki to build the famous Daibutsu in the fifteenth
year of Tempyo (743). The temple itself was finish -
ed on the fourth year of Tempyo-Shoho (752). This
temple does not belong to any special denomination of
Buddhism, but rather maintain all the eight sects.
ite g there is any preference given to any of these eight,
perhaps the Sanron and the Kegon are the ones.

Sho-so-in is the name of the treaure-room of this
temple, in which, according to the inventory made in
the sixth year of Tempyo-Shoho (754), all the person-
al effects and art-goods kept by the emperor Shomu are
treasured, as they were all dedicated to the Buddha
Rushana by the emperor. Later, the Empress Koken
(749-764) also dedicated some of her things.

The glazed wares mentioned above must have been
in use during or previous to the fe of these sover-
eigens.

Cochin is situated toward the southwest of China.

According to the Taihoryo (Go ernment Organization pub

Howe Be ahaa "Tom tawods 08 4 he ens li a ;

ae

"20 esneoodP aot anst "oat w Vent

. ; oe Scammed
sera! oni mt at cs a ue
-oA om xoToGmE ont od sslbbat 8 of boseotbob sew ae is

$I g0damaY Yo toirde th

saotig eit bexebi0 Torrsqm6 ont” c binostti ont ot antipo | 1a
Ainoesttt est at va ducted essome? ont bLtwd ot “bicho i

“ “getal? aaw toatl ofiene ett « (ent). oxanet to 188% ;

ataT {SET} onion2=ovaneT to 189 ad wot ott no be

: to no td antmores fekooge Vos O° anoled tort eeoh efqned
-atooe tigie orid [fs otetatam teriter bud ene tribbut

diate eeodd to Ys ot nevis sonst oq eee at ersdt 41
#2 ont0 ox os nozew ent brs sortase ‘orld eqerixog ‘

“eet to soo ier 88 7d ext to ems ont at nt-oe-082

ont bem ciodnsvat ond Oo gatinosos eHow at welqnet 4
jraoered oni iis ef der) orforta~ovamie? to ey dixie eat ae
om ueo Ne Tor8qe ant vd sq abooge dts fas atostte fe we
"j 7 - antbbut ons of betsot bab. Ite o18w vers 88 <boriesord - ik rs
sh “esto eaorqaitl anit reset siorsgme odd we ‘enetieut |

ne .
saute | vent to. emoe ‘bed sorheb oss eet ; ie .

——

if

TTI=-=5,

lished in the first year of Taiho{701 A. D.), a Pottery Bus
reau was first established sometime during the reign of Em-
peror Mommu. It is probable that some pit cizea wares were
manufactured about that time by the artizans brought over
from Korea and China, but no specimens of such have yet been
found. As above said, none of the Sho-so-in collections
are of a native make. So let us suppose for the present
that the earliest glazed ware of our country was not made
until the early part of the Heian period (latter part of the
eighth century.). |

A mention is made in the Ruishu-zatsuyo-sho about the
seven trayssand seven "seji" plates used on the occasion of
the Hagatame ceremony (ceremony of giving some substantial
food to an imperial baby for the first time in his life).
According to the Ko-shidai, those plates had been presented
to the imperial household from the province of Owari, and it
is more than probable that they were made in the same proe
vince. Anyway, these wares were so rare at the time,
they were not allowed to be used except on the rarest occa-
Sions,such as the Hagatame ceremony. Moreover the materials
for them had to be brought over from China, and after the
discontinuation of the intercourse with that country in the
days of Sugawara Mitchizane (latter part of the ninth cen-
tury, )the native potters had no way of getting their mater-
jials, and thus obliged to stop the manufacture of the glaz-
ed ware for some time to come. These special circumstances

are probably accountable for the mon-existence of any spec-

ar ea TN Un eae Se at a

7 Ug he,
vr ue

19v0 sdannte enesitis ent yd omit tans duods oe a

igu

need Joy ae’ sows to ansitooqe ont. tus amt. iad e570 mov
anottoe£toa pl-oo-048 silt to enon <bise svods ah “shor |

dneaetd ‘oki 10% seoqque au ‘tel 02 ; osc eviven s to oe ‘
gt
he ett

ea,

obsam ton esw Ytavoo tu0 to tik bese fp taotixse ‘oe

ent Yo dregq eerest botieq neiok inst ‘to tog ft. ott esa
‘, " « Cereurines sitgte.

es iy bony) ON eee

ent suode pr rererenen sy att ni ohas ‘Bi no nce ae

to notasooo eit no hean estalq ae noves bese aystt mowse|

| Lettnstedue amid e- ant vey to nome) ‘yromere9 emeteneh eat a
«(stil eta ai omit” taxit ont 102 yded fstrsamt 8 ot a
bednesonq need bert eeteta sort. \tebisle~o% oct oF artiroooa
tt brs elicaieical Ba) sontvont ‘ont 07 hLortoason Letisamt oat ot
- <omg Snes ‘ork eck eben Ao ial voit tant oldsdorg fay e708 ind
gt comnts ost ts ote O88 som BorEw: sasdy Oh alah oi ii

8990 sooner one 0 aaa hoes ot ot bowo Lhe tom nor

ont a scutaueo 4 test ste, hanusolainaet: one ey Edes
_ onto: take out 20 jreq wetent) siuetisfottMe arenes :
| rot ee ad Boosh on bast 010930 evtten »

II-=-6.

dimens of those early native wares, if any were being made,
as none such has ever been treasured or excavated.

According to the Nihonki and other books, Korean
artizans, weavers for instance, had been brought over
even bofore the Nara period. It is more than prob-
able that some potters had also been sent over about
the same time.

.- The Heian period begins in the thirteenth year
uaa) (794) in the reign of the Emperor Kwammu,
when the capital was moved to Yamashiro, between the
two districts of Atago and Kuguno. The new capital
was called Heian (the present Kyoto).

The Ruishu-Zatsuyo-sho is a book treating of the
ceremonies prevalent during the period of two hundred
and fifty-four years from the fifth year of Kwanpei to
the second year of Bun-an (893-1146 Age Diss),

The"Seiji" of this early period is nothing but a
glazed earthenware.

There was an archaeologist named Shinkan about
eighty years ago. He wrote an interesting illustrat-
ed book called Shu-ko-zu. But unfortunately for us
he does not give in the book the names of the owners
of the ceramics he describes, and so it was entirely
impossible\to try to examine those interesting origi-
Ass 3

In Shigamura, Shiga aastriet of Ohmi, there is

atemple called Bonshakuji, popularly known as Shigano-

ae Ope haat

ue . oben ated : stew ane st eee
hr ast a ape Bi Sc aettintiats 10. beam
trots 18¥0 ) tase. need oats asi Cae ‘embeded elds.
aaa Vegas ia iol s fmks one ae 7 ‘s oe
BOY Atnpedteed end mb anise Soto maton, eat ‘ os
etrenawdl xoreqnt ond to ngiet anit ak een) miovinet to. |
ons stadt ,otbsasmeY od bovor ae fatiqes ane aeciw |
_— wer exit , sons bas. opata to adotitelb owt .
s(otoud faenese’ oat) nstelt betiso Bem 7 o
ond. ‘to patteort food sat oda-oyuetaSeurtetuit oni Nj sey oy
betbaun ows to bolis¢ ent gate tne Laver esinomesso ‘ aA
“od tequewit to VBS, adtit arid “ost. e1S9¥ worevetlt bas ae
| ror T +A aari~8es) = 08S, to. 89% broose, ond, ee
reel: ie 8 tud aatitor at boireq vine eta 10 "ELbea" od? ; ae

- co StoMnOAE 8S bosela

- tuods nasdetae bonan tetyofooniions: as ew ered? ma ai
9988 exsex, atts.

<tendausit pensar 6. basin oe “i

os " mS "
nibs ie
Hee",

MS

II--7.

Yamadera. According to the Zoku-Nihonki, this temple
was first built in the fifth year of Yenryaku (786),
but it was later destroyed by a fire. On the twenty=
ninth of last August, I took a number of workmen to
this temple and dug up here and there in the bushes in
its vicinity, with the hope of unearthing something
that might prove of any use for my study. To my greate
est joy, I was rewarded with several fragments of an-
cient tile and pottery, one of which was covered with
a greenish water-glaze and Leeete ee greyish glaze
Both of them are very old and of great interest to an
archaeologist.

Michizane,third son of Koreyoshi, was appointed
ambassador to China in the fifth year of Kwanpei (893),
with Kino Haseo as his vice-ambassador. But about
that time it was reported by Priest Chu-gon, who was
staying there,that the empire was not in a very peace-
ful state. Moreover, Michizane thought the manner of
conveyance was too precarious to warrant the frequent
sending of the embassy, as the boats were very often

attacked by pirates, not to speak of the usual marine

sea-disasters. So not only he was excused from the

mission, but after this, sending ambassadors to China
was gradually discontinued. However, Go and Yetsu
(parts of Chin®) kept on sending their embassy up to

the third year of Tentoku in the reign of Emperor Mu-

rakami (959), when they too discontinued the practice.

> ea ab uk «, =

ar sae eee: silgansY ie 188, seth ont me stud death eam ~ Ce
‘ agdnews ant 20 oxi? £ “d boyortesh vetst caw tt tud
ie ot peeat-row t0 ‘neding r) soot a «Pega tent to dtoke
at eeseud oct ‘mk ote.std his eter i Bee fuss elqmet tit
nnisitemoe gitksddrse nis to sqos ‘ert ntiw citintoty ‘att
#tseiyn WoT .ybute yn 107 SBR yes to vor $eigbm tasit
afte TO viens utieiabie Isvevee it bw bebyswat eew z vot tae
AF Ew hersvoo ‘esw Hokde to sno. cretion bas elit tnoto
eselty sakyors Ay yertons bas enelyotstew seins 8
me oF teoretne aS: ‘to bre ‘bio ytov 318 mond to Asom
| statyoloesiors: j

betniogqs i a cdaove tol to noe Buin, onsatiotit ;
Raid foqnswh to: 128y A378 pee nt arto ot tobeasadms |
“twos eee tobs2e.siue-9oty ‘ain: as ose ‘ontx ate ; ahad
“aaw onw Gg =U taotst oe betroqey ew af: come ys. dent | a
.gassy sd B° “nt tor enw otiqere ord teile vere patie or
to ‘Tenmsa sit tdzuwondt onasitatit ereveetol” -satete it | ri
tnoupovt ant fasten of. adobtnona oot een sonsyevs0e att)
nodto vey stow etsod ont as ‘eenedrio ont to gnkbeoe

omit aaieal ont 70 Sed cp ia ton ete ve é tedontts

r £S cx

ei i star n9 ose. $ pa. ;
“adox ‘bas i peer v 2 EB

a

ot ws aendme whodt it

II--8.

Michizane died in February of the third year of Yengi
(903) at Anrakuji, Tsukushi.
In O¢teber of the first year of Ninna (885), it
was ordered by an imperial rescript that a private par
ty should not buy Chinese goods. After the Tentoku
period when Go and Yetsu ceased sending their ship,
there was no way of getting the materials for pottery,
| Bok thus the manufacture of the glazed ware Was brought
to an! énd.i °° Even if it had been continued, the output
could not have been of any amount, because it was en-
tirely out of the reach of the general public. It
was all taken up by the imperial Hot Sena’,
After the discontinuation on the part of Go and Yetsu
of sending their embassy, there was absolutely no way of in
troducing the foreign civilization for Phe twenty-four
aes until the first year of Yeiyen (987) in the reign of
Emperor Ichija, when the Chinese disturbances came to an end,
the new dynasty of Sung was established, and a few merchant-
men were put on commission to resume the little traffic be-
tween the two nations. During this interval, the pottery
that was being made in oars] Mikawa, Bizen, Kawachi, Izumi,
and Awaji, was of course an unglazed ware like those of old.
(By the Jogwan-Gishiki). So was that of Settsu, Nagato,
Mino, Harima, Sanuki, and Chikugen. (By the Yengishiki).
Jogwn=Gishiki is a book of Government Organi-
zation and Ceremonies compiled in the thirteenth year

of Jogwan (871).

tE (888) sant to 1s9y gout ois 7 0 soit oo.
~aq, oteving es test tqiyoest_ fstreqmt as ‘ed - bets b10 ean

mlotneT ent 1sttA ‘eeboog event dd xin don pLvote, re Pi
-atsie, tient gathnos hee 869 wetoY bas on ost botreq
Seaweed 10? aeflstrotam edt gatttes to yew on aaw etens
triguetd asw etsw bessig ant to otad ost ten ont eudd bos
tiugqtiso ort ~bewaitnos need bart $f, bd nevi bre ns o3
«15 eaw ti serboed , Turoms ‘He to nesd: ovat ton Biuoo

$f OL hiaig fer eneg ent to doset ont to $0 wlerttt
.pLoieevod fstiogmt oAt vad qu meted ile asw

seateY bas of to tiaq snd ho mottsunisnooeth ent tettA

ai to sw ost yletuloada anw erent «Yeesdme sleds gntbnee to .
~solt~ysaews tuods 10T moitestitvio tra ter07 ent anioubott
‘to mgion ant mi (rae) savtey to 159Y tetkt ent: Lido eter é.
, bas as oF emso esonsdyudeth geentdd ont nos (A btsod xosodnit
-3 nadtorrom wet s bras betel ideses aaw gave ‘to yWwesenyb wor edt
aod olttait eistit acid Smee ot noteetnmoo £10 tug, er9w em

visitor ont ,fevredat: phi paki _sanotten owt eft mows
_ ims. do swat eMesta , swath ,trewO at eb sin gated, Bew tend
.bLo to. eeond exit Stew bessioau ap eats to, sw rose bas -
otsg sit watte® to gadd sew 08 _ (bofiste to-neot ont ¢)
. (dita tgnoy exis ft) | akameton bas flume amit ond

f 2
Ad yer Lis

Sais stantial bi Fond, 5, 4 henaennt waot

a a et

news fi wh a ‘2 7
ae ohms ot Ek we ee Se eh

Il--9 ®

Yengi-shiki is a book of the same sort as the
previous book, and was compiled in the fifth year of
Yencho (927) in the reign of Emperor Daigo. It says
in this book that the ceramics for the Shinto ceremo -
nies were being made in the several provinces above
mentioned.

As to the more exact locations of the factories
in those provinces, the Wamyo-sho gives Shikino and
Nii districts in Kawacni; Ohtori in Izumi; Midorino
in Kohzuke; Ashikaga in Shimozuke; Amada in Tanba; Ya-
kami and Chitsu in Inaba; Oku in Bizen; Nagata in Awa;
Honami in Chikuzen; Yamamoto in Chikugo; because there
is a place called Haji (potter) in each of these dis-
tricts, though some of the villages of that name might
have been so called simply because there was a man
called Haji in the village.

About this time, tea was already in use, but
there is no book record that leads anybody to think
that any tea-jars were in Spas eee at that time.

The ceramic industry of the ancient owes its progress
to Priest Myoye-Shonin of Tsuganédo, of Yamashiro, who
popularized the use of tea and tea-ceremony, which
gave a great deal of impetus to the industry in later
periods. |

| According to the Genkjyo-Shakusho, ilyoye-Shonin,
otherwise called Ko-ben, was a son of Tairano Shigeku-

ni, of the Imperial body-guard of Emperor Takakura,

— stodtt sansosd ; joguitdo at otomansY jmosuaitsoO ok meno!

; stutichie omen tect To. aegeliiv odt to emos sguons cetoias

ee ie oa ota, eVaomens9~ ~ aot bas pot to. oa oft, bosttag re ch
ae i weet ak Sopnubad yet: ot susoat te feeb soon 2 ov ait -

a ae sn eae oy ee

Eo tsoy Astit ecit mt picieee anw, +e idee: uo "
ayse $1. sogtsed TOteqmT To: sagt ox! ont ab. arse). oso 5) :
- ometso ofnisg ent rot edtmereo. ond tastd dood ist mt iy
svods: esonive yd fsxevee est, ate ofan anted Stow coin
* oii ‘a * whe vabomottnom *
esitotos? poy to antotssooL tsaxe etom at ot mh. re
bas onkt ee aevig oreeoyme odt saeontvorr esont at
onirobiM imsst ‘ak fto300 ; tional, nk etoduiath aus z me
“aX ;sdaet mt sbamh jexusomide ak sacle ad a Lue No2 2 a4
jawA nt stage jmestd mi gf0 jelenT mt. vedic Bois teat oni

~sib eeen? to soas. at (redtoq) tisk beliso sosia wet. S

_ fem 8 al stents sensosd elauike haligo: oe aged sven
sogelliv ond mt bist be peites

ted ,cau mt ybsotle aaw sot ont + atad duodA mason vi i:
Halse ot ubedune. ebest tastd br1099%. dood on at oxen i ae
_-seutd feild $8 oomedetxe at stew exstesed wie end
aastgo1g att 200 dnetons ont to Witesink olmereo edt
ontw (o laameY 20, , odnsquet to. enone cow teottt ot

ain

i
‘

II--10.

He was born in January of the third year of Sho-an
(1173). At the age of sixteen, he became a priest
under Jo-gaku of Takao temple, passed his examina-
tion at To-daiji. later, he studied the esotric mys
ticism under Ke-nen-Ajari, and was preaching the doc-
trine of the Kenju sect at Tsuganoo. He died in Jan-
vary of the fourth year of Kwanji (1232), at the age of

sixty.

According to the Bengyokushu, it was Kato Shiroyomon
that started the manufacture of tea-jars at Seto. His ear-
ly works are called "Kuchihagede", as they are not glazed at
all on their mouths. f His full name is usually contract-
ed into "To-shiro". As these jars were baked with their
mouths down, the edge of the mouths are not covered with the
glaze. iHernc ©: the name "Kuchihagede" (bare mouth ware).
Usually, they are thick, coarse looking and clumsy in their
make-up, made of a yellowish clay of various tones, good and
fine-grained. Their mouths are very noe: built and very
clumsily turned out, of course with no glaze around them.
The underglaze is usually dark, though it is sometimes black
red, or brown. The overglaze is very black, and is applied
with a massive effect. It is sometimes used in streaks on
the brown ground. Very few jars of his are small-sized.
Those called Katatsuki (shouldered) and Tebin (handled) are
rather ugly. Particularly heavy pieces are called Atsude

(heavy ware).

| <ocbiahia etal heeesq fades onint +0 wslsy~3T ‘9b f : |

— orioso ert betbuta ed pteted sEbtab-oT te ‘eee
~90b oft gatdonong B28 bas (tte [Aston~o reba mateit

~18l mk both oH soSaagua? ts toaa wiser hall te ene

to bid eit +s \( ra: tinew® ‘+9 ~s8¥ eres: odd to erat

ci . an Ly ¥ wixte as

“Mottoyertsa -oted eaw $f pudewmloyained ant ot pithroo0A

~189 alt sotee ta etal~set to eurhostiftrsa sult bedrete decd

$s bessig ton ets. yortt” ass -Spbagarftitauit® belies o18 exow a

~tosthao9 neh haves at epien fit A Me « axidiom heiit * no ffs “4

atest asim bedsd ovew arei pees ak <"ortiazoT™ odut bo

odd dtiw bexsveo ton 91s add uous ecid to: sate orkt (mob ‘eeeeieen ;
| «(orew rituom eed) tohsqeniisoe” “omen edt . 990s” ae
Piishased ae Kem: ‘bas gniddol s21809 Hotty ey) vers «, flewed
"bee hoog eat asoitey to yelo detwoltox, & to bau a

Ciev bas bLiud yivass Visv STs arturo sion? | sebomtsrg-oatt
imesh bavors esalg on atiw ae709 ‘to we pentst wikeiicto
foald: aomttomoa at $b dysoie gti wo owas

hotiage at bn. (losid orev at osatgtovo oat
no eokeortte: xt, beau semitones a ar. atostts:

phoste~LLeisa S18. o bal to. nam, chia OY bose wos one

ots (69 Ebmsnt) atdet bet
-— ohuatA beLieo ee ¢9%

eae

7 at exayrobar oat

TEs

Recently some mellow and beautifully slazed jars have
been unearthed from the hills and valleys near Seto and Aka-
tsUe Evidently they had been thrown away as imperfect ones
at the time of manufacture, as there is none ned ey some
kind of oe But these flaws are considered rather typi-
‘cal and characteristic with them and are not at all object-
ed to by the collectors. hes ape called "Horidashide"
(unearthed ware), and usually are made of a sravelly red
clay. Their "itokiri" (bottom designs) are sometimes fine
and sometimes very rough. The make-up around the mouths
are normal and good. The underglaze is of brown of vary-
ing tones. The overglaze is either black, brown, yellowe
ish or grey, used in mass ive layers. Some are called Kue
ro-hage Gbistei ans bare), Kinagashi (yellow streaks), or
Kaki-isshiki (all.dark brown), according to the way the
overglaze is applied. Whatever color the glaze is, they
are all very mellow and beautiful, on account of their long
internment in the ground.

The Mei but su-rughu sives the name of To-shiro
-as Kato Shirozaemon, instead of Kato Shiroyomon.

Seto, Kasukabe district of Owari, has produced
such a large quantity of porcelains and so many famous
ceramists that any sont of porcelain is: now popularly
called "Setomono" (Seto ware). (By the Owari Meisho
Zuye).

Soa say "Seto" means sea-shore, and so it must

_

~ oA we ‘eee Ison ays iter oo ‘itis ‘oat mort y Hosoda naa ey

2910 oes as yawns “wort mood bert ori witnsbivit oat
moe ead bi Zé enon a —— 2s Sud ose % emit ont ee.
~tavs roriter boriebindée 978 awsit oxox tut ae AA ie peekol
~t99 {do {ie ¢s ton e168 brs arent vttw oktabietosysto bas feo
“ebidesbitoH" beffso ots vent satotoet loo exit vd ot be
i bet vLlevers. s to sham eis yilsven bas , (ots bor'dxo90u)
onkt asmtemoe ats Aamgtesd mosttod) Mertaode™ thent gato
adtsom se! pee qW-ostan (ONT .sfgiro7 ywrey aemitomoe bas
“Visv to sword to’ at eastgiobiie eaf .boog bas Lamross ate
- awa fey IONE doald tettie ai sealyrtevo eit -saon0d aa
“oH belfao 918 smo. saroval offa aan ag boo eters ‘to thd
, (aalsotte woLtey) bdaspenth (onad bas ate oneil-o1
| orl waw od of path w208 «(amor sh ffs) bitdaet-taeX 1
youd al oasty ould ‘toLoo revossdv | bettas at eae tgtevo
gaol xtedd to $as10098 110 <litisaaed boa wollen yiev Lis oe
| | , « bao oat? ‘ak oor
; “orkila-ol to ante ‘ot aovin udgoroue tad tent eat .
| _emtomgyo7e oted to baotent emomgagot te eter ae. :
_ beoubog a at . ExW0 to tobitatb ‘edakvask ‘0808 a ci
sonst yest oe bus oni Asfeot07 0 vittneup ental (8 slows -

vee i! a a

aes os 3 wor at Atateovoy ‘0, $r08 eas bestd Bes

II--12.

have been somewhere near the present Tokoname-mura of
Chita district, as the village is right on the sea-
shore. However it is,this village Tokoname-mura thes
has een turning out porcelains ever since a very eare
ly period and eeLTINayy groqumede aia great quantity.
Moreover, old wares are not infrequently unearthed in
its vieinity,. |

The early works of Toeshiro (made at Seto) were
evidently made after the Chinese and Korean wares in
glazing as well as in shape. They were baked with
their tops down, and so while their bottoms are cover-
= with the glaze, their ae So are bares ie

ea- Consent

According to the Chado-sentei, all the works of

R
To-shiro made prior to his Chinese trip are called Ko-
Seto (old Seto). nea divided into three class -
es, namely, the Kuchihagede (bare mouth), the Atsude
(thick), and the Horidashide (unearthed).

Some Atsude and ueruenceaae are glazed on their
mouths, but such must have been made after his return
from China.

Works of his pupil's are sometimes called by the
same names, ads too mst of theitare glazed on
their mouths.

Some jars have their glazing running down from
the top, though their mouths remain unglazed. These

must be works after his return from China.

beet sim entscodoT ‘opnttte ahd, at ry a |
“188 ytey & sonte 19V9 entslsot0¢ to. antes 1 99d ess
TP bee ‘botver wi

nt bers 89cm vitneupertat sao bashes sore bro, (rovostoNt

wsitassp depts a epetostony
¢ | 4s suftatoly att |
| eteaw (ot03 - eben) otide=oT to atiow ‘free oat.
ae astew ns910% bas eaontdd ont ‘tette bisa ltnedive “|
Atiw bowed o1sw ont veces at ne. flow as antsely . ‘
=19V09 916 anetdud tikest ol iotw oa bos _n1W0b aqos thet
wipe Ss + that tient (9sely ant meee. te
‘ axtow ont fils are NE edt ot ant irroooA i
0m | belise sis qind seertno ete ot Torta obam ortteso
~ seako sorts otnt bebkvib ais yout «(oder Bio) os?
obuasA edt , (tom oxed) ohogasttitonx ent. etomsa ene
. . (bacidt20nu) sbisesbinor ond bas <(hondg)
abet: no. “ponely ois ebtdaabitow bas enue th emoe .

ate Saree

arte" abd t9tts aban need avsd eum slove tu «anton. a by
oe) nowt
ort yw bottso aemtzono3 91s at thqua eta to eaxoW

te et

Tove oot yond sud. S98 emsa ae

ieee

| | gd
mort nwob, antnaw antety ates eves are aH02
“eaott “hostage temo extsom postop:

II---13.

The Chado-jsentei says the Horidashide were found
about the time of wena Yenshu.

"To-shiro", says the Bengyokushu, "went to China with
Priest Do-gen-Zenji of Yeiheiji temple, Yechizen, and stud -
ied the Chinese way of making porcelains, After his return
he baked his wares with their bottoms down, put in a clay
shield. Thus the glazing was completely melted and came
out with a beautiful effect. Do-gen lived about the Ken-
ryaku period (1211-1212) in the reign of Emperor Juntoku.
His life is given in detail in the history of the Yeiheiji
temple", |

Do-gen, the founder of the Yeiheiji temple, Yechizen,
came from a noble family of Kyoto. It was in the Kenninji
temple that he became a priest. Sometime during the Sung
period, he went to China, where he studied the doctrine of
the Zen sect under Josei-Zenji of Tendo. Upon his return,he
began his religious works at Fukakusa, south of Kyoto. He
was offered a very high sacerdotal position as the head of
a famous temple by the Regent Ho-jo Tokiyori. He did not
accept this high office, but preferred to go to the remote
Yechizen, where he founded the Yeiheiji. He died in Auge
ust of the fifth year of Kencho Ri 2589. (By the Genkyo~
Shakusho).

According to the Meibutsu-Ruishu, it was in
the second year of Teio (1223) in the reign of Emper-

or Horikawa that he went to China,

bauer otow 1 sebtbabiaon 4 out ‘ana’ Ppa a ;
OS pale Proton to ort oth toda
ittw snk ot tow" ileantoegao® bite aves _ontite=o1 aml
“ bute bre: iasbsloeY eiqmed Egienter 0 ‘EywoS-noy-00 teats
fuistet ain. sodta santa sored gatdan to “en sbsiiteo ‘ont bat
yato ie: 2 tq (ted anattod vhosts. iw aenew eit besled ext
sano bas bot fom vLete lames saw gitksats ‘ant ast . ,bfetde
eno t. ont twos, ‘bevth agyeot ,tsette ‘Gnitteses e ‘she tuo
wnletaut w9x9nt to “maitey ott ef (eest-z08¢) botveq thlee:
tytedtey, asf. Xe erodete sid vt ‘Thates ak asvip, at etil eth
; . soiqnat
' MestioeY ,o Laos roxedtot ond to “ebnuot ‘orit emteg-0@ s
fbotaned ous nt aew Fo 3 sorte ¥o vi kmet afdan « mov oe
gna ort gat Parte oi testa 5 omsoad ont dent elgnst ,
to enissoob and babhuta’ at stent \atetd ot drew of ,botteq -
oat artudor aid noqt sohnsT ‘to ‘Efasd-Leeot sobaw ‘Foor HOR ont
- 9K sotour to Alum. | vanes te airow auotgt iow ati teed
to bins eutt ae aottteod Istonre%n9 Hebd ciey & bSiatto sae
toni: a ae og brogtilet ot-ot tasa sf eat we oft audney s
etomet- Bis OF on oF pertetoig sud .25ttto: fet vais ‘tases
wguA mi'bete ox | .t vttehaiter ont” ‘bebado? on ovate scipphtoot :
| wenghaed eis Wee es) ‘ado to <ne% AebET ent, +o tan
ee eae a FT : 8 eae

Hi ~_
Thies f i. hy Fr a oe A 9 2
: ala

IT--14.

He came back in August of the first year of Antei (1227).

"Works of To-shiro"’ says the Bengyokushu, "that were
made at the Heishigama in Owari with the Chinese materials
he brought over with him are called "Ka ramon" (Chinese
goods). They are very light in their make-up and very
well baked; their clay, glazing,and itokiri are normal,
They are very famous." |

In judging any Karamono, attention is to be called
to their carefully sifted fine clay and. its aisiee Rinaene
mellow tone. Those made of a violet clay are the best;
then come those of ,pink clay. Yellowish clay and rice-»
field clay come next in order, followed by red clay, which
is the worst of all. As to the "itokiri", we use such
words as "normal", "“okoshizoko" (high bottom), "hera-oko-
shi" (scraped with a spatula), et cetera. There are vae=
rious imitations of the "Karamono", called Mannyomon-yaki,
but they are poor in their itokiri, general workmanship,
and glazing. Moreover, they are only about fifty years
old, and their glazing is altogether too bright and too
lustrous for anything. But then, there are a few that
are really so well made that they are apt to be taken for
genus ones. Some imitations of the Karamono are found
ain,the Awataguchi-yaki, but they are very poor in every
Pespect > According to the Meibutsu-ruishu, the Karamono
are usually made of a red, violet, grey, yellow, or white
clay, but scme are made of clays of different shades and

tones.

y . 5 ieehil a2 |
or os e Pek aaa

.(SS8L) LodMA To tesy dettt ent to emma nt aosd omss oH
_ teow tad?" ,udegdoysaed add Bye. tontdesoT to earow"
ea latiedsn seentto: edt ddiw new es sate tie tod eat ts prom
eeenird) "anonetai" bellso os mb ngiw evo tdguord acl
YIsyv bas. quests ated? mt degh f, YIev ets vest f .(ahoog
» Lenton g18 fxitost bas, gnissties ,yalo ited iboused fiow
, | "~@ toms? YiIev ots -yort
beliso sd ot at pegenrys ,Omome te LNs sebcnet Ms.
elidsdtioaebnt-s3i.ine, yale sntt heftee yfiutorteo ited} of
jteed edt ote ysts Joloty sto sham osorT .enod wolfom
-20it bas yato delwoltey .xslo aut, to eons omoo nest
doinw ,yelo bor yd hewo LLot ,tebto at txem smoo YSlo blot
| flows eeu ow “tuitoti™ ods ov 8h «fis to tetow ont at
~ofo~sien” ,(mottod agisd) “oxosideoxto" , "fantom" en abtow~
(“ev 918 StedT -.eteteo te (aluteqe a sittw beqetoe). "tile
EASE rnORT ye bo {iso , "ONO STSE" ent to amoléstin£ avolt
| TheniaMmlso {steneg etiitoss “ehestt ine Sat ons, yous tad
eran, yet it Sued s vino os yent et9vo9 10K spatsely bas
oot bas ditgtad ood tedtegotia at antsely mbes brs me
; test wet £ at orons aftedt due : sgaksiyas: tot auortant
tot. nodes ed ot tgs. ots yortt sans. hsm Liew pa yilses sts
bauer ets onan a, a to emot ted ink ano? PEL Yor) eee
wieve at 1009 e1ev 81s: yori sud Ans binrnntiel pan: 4
onomsrsh end ude kersosratudtel pitt od gaibioo24 sto0q20%
odbsi, 10, mo Ltoy, COD. stetoty. ebet 8 to sbsm vitevan os
bas eobsria taener th: 9 ayato to tis one aude ted (ele

————— ss

If--15.

Their underglaze is brown, but the overglaze is
either black, yellow, or white. Those in the white glaze
ing are called "Jakatsu"(a lizard). The "itokiri" is usually
the "reverse" and exquisite.

Works of this period which are made of a Japanese clay
and glaze are called "Ko-Seto"(old Seto). The larger jars,
usually about five inches high, and shouldered, are called
"O-Seto"(large Seto). They are made of the same materials,
and have the same style of itokiri.as the previous ones.
Smaller ones are called "Ko-Seto"(small Seto). They are
little different from the old Seto, except the latter are
made a little heavier. They are made of a yellowish clay
of various tones, or a greyish or pinkish clay, all finely
sifted beautiful clay. Their itokiri are very fine, some-
times so very fine that they are hardly discernible. Then,
some do not have any itokiri, but have some hammer marks
instead. The underglaze is dark red, and the aveneteze is
black. The latter is anplied in mas sisre layers. Some }
jars have black streaks on a dark brown ground, or dark
mottles on a greyish ground, while others,light black spots
on a dark brown ground, or brown spots on a pinkish ground.

Then, againja few pieces have a greenish glazing around
their mouths and bottoms with some ubees 2h They are
called either "Nashime-gusuri"(pearskin glaze) or "Cha-gusu -
ri"(powdered tea glaze). The edges of their mouths are

beautifully turned out.

apie 7 ie’ a

al ssefgie vo otf tut alike ei : osalytebar ‘tout
~ssig etinw ods mt seodT . otidw “to WoLLoy eloald tentis
yitsvey et *Pitlodt™ ont » (ba batl a) "ye dciet" belias ste get
| _ sedtabupxe hae eexared" ont
vals Sadie & “0 oban ents Hot dw bolts q eit to axioW
,etst tontel ext Cease bilo) "ose2-o0x" bellso ete oneln bre
beliss ets ,bsrebluode bre agin sectont ovit ivodgs yflsever
palsits tem SBE, ext Yo sham ove Yet . (ote? egrsf) "oto2-0"
e89no euolvetg ort és itidott to ofyse efise exit everi hres
sis yerT (ots ffana)"te8~-0%" belles ets e6no teil ame
e116 yetsal ert a adiicall ,oted blo ont mont jasyeT Eb efstre
yato ite twolley s to sham. sts went steiveon etter rs 9 bein
yfentt fis ,ysilo Re fen cq, 10 ‘Se iye'ts @ 40 ,asnot auot<sv to
-stioe , suit Yiev oie biilott tsa? velo futttused best te
ment soidtarsoath vibes STs aint tact snit yrav oe semis
aa rommadt enos evar su itidoth Ying overt siti ob omoe
= sultans ont ‘pas , bet Areb ef ssafgire baits ont ' SRegtint
arno8. seteyel otsann at ene et soe ¥er oat toate,
Aish to , Savory mvotd Axsb 2 0 seatrtitde Aoaid oved atet
etoge dwosid right erento SLi oy aia Sates s no seltiom
»bavo1D sie bintg 6 RO etoqe word 19 Haverty nwo Arab 6 mo
bavors gatsals ‘Wa ceaney 8 aved apoote wet s,ntsge ,
oie ved? EE aotssus’ onoe sidtw ame ttod ‘bap edition hie
~ yeuy-sd0" to (exety abtewsoq) "txue0g-ombsingtt” sevtie befleo —
‘Wi Noes Sherine peste ie bcp sot petobing) "EN
Sid a te Saag fos a, cde Heise i ee Borat china ;

} vent
: * i : it
a ‘ave bi

= iY et tee Oe a ee

—

Tl-=-15 @

As to the shape of the Seto tea-jars, we distinguish
Katatsuki(shouldered), Marutsubo(round jar), Shirifukure
(bulged bottom), Nasubilegg plant), Hisago(gourd), Naikai
(gulf), Tebin(handled jar), Mimitsuki(eared), et cetera.
Anyway, they are usually of a small size; large ones are very
raree

The Heishi-gama(jar-furnace) was so called be-
cause so many jars. were made in there.

According to the Bengyokushu, opinions differ as
to the Karamono jars. Some say they were made in
China while To-shiro was over there, while others say
that they were made at the Heishi-gama with the ant eis

nials hé brought over from China with him. Those who
maintain that the Karamono were made over in China say
that they were brought in by Toshiro, as priest Gyo -
kudo of Daitokuji did the Gyokudo Katatsuki(shouldere
ed).

“The so#called *Daimyomono", says the Bengyoku-
shu," are either Ko-Seto(old Seto) or Karamono. A
real Chinese ware is called "Kan" and is not to be
confused with them. The "Kan" is not so good as the
Ko-Seto or Karamono." I am of the opinion that the
"Kan" was made by a Chinese named Kan, rather careless
ly, and was intended for a medicine receptacle. It
is usually of a larger size er a "Karamono", which
was intended for tea and so of a smaller size. ane

way, the Karamono may be said to be an imitation of

r ‘ a i =
cer

bette <Aahinee ap (tate ‘as Alia Waar ‘esie)

.sieteo te , (bots) idved mim ebuat bekbrodt) atdon them)

7 aha - Te, ; ae

UIST Sts eBerro ssiel Satie: Sthee & to vitawes | balbsed dort. agi,

‘ ‘fe £

“gS i ’ eee

“od aria o8 daw ooaiant-rst) ened ont a Finds
} sotans at Shea stew ori hs csi oe ‘omits x na
8B wotteh enotntqo uromtowgnet ort ot gat broach pa:

Els

“gt shoem oisw vers vee ome waist, onions si ent oF

ia = cae.

a
Aa im: i] {
i ona
ane

wee arerito eLisw ered 1eve cow orbdeoot orbs ents
od en sstd a iw emep= ~ brig tek end te ofa stew yond ‘tet
orlw seotT vivket Siw said mo%t Seas aeiguond bat ebsha
vse enisd at teve Shem etow ‘ostonie te exit, testa ntsteben iz
- ow dastxq Bs 4otifenof yo ak tego! eT9W Pent) tacit
“srebdiloss) ive tata whine s oid bEb _Huslog bet Ye ott

- ononie 10 {ote ‘blo)otob=ok hee he
‘ef of Yon at fo Maa Boitso ot ‘orn seonts Le
on chtealh Gi ae naa" ‘oat gett ors

imal torifer ade bem: ‘
a sefoesqeoot ontoibes ri

a

II--17.

the Kan, ,very carefully made. 3B Ge former has a
nice and fine itokiri, very deeply and sharply cut,
while the latter has a very irregular one.

According to the Meibutsuruishu, those of a light
er make-up are better thn the heavier ones. The O-
Seto is also very lightly made and exquisite.

Heavy jars with a left-sided itokiri made of Chi-
nese materials are sometimes included in the Ko-Seto
(old Seto), but they are to be called Atsude-Karamono
(heavy Karamono). It is almost inconceivable why To-
shiro made such heavy and clumsy pieces after he had
learned to make beautifully light wares. He might
have made some such heavy pieces very rarely, but it
is more than probable they are works of his pupils’,
made of Chinese materials. Very few of them are good
enough to be called To-shiro's works.

According to Mr. Akatsuka, all and any works of
To-shiro are called Ko-Seto. He says they have all
of them some peculiar spots called "Ugera fu" (quaile
like spots), caused by the glazing running into the
wheel-mark lines, which ies) Sanaa visible through
the glaze. The Qndeto 1% sometines called O-gamade,
and the Ko-Seto (small Seto), Ko=-gamade.

The HodColayisers is rarely glazed in yellow.
Both Ko-Seto and Karamono are seldom glazed on the in-

side.

8 ae ESiKLOT ot oat set vod lt iin. adil
tue ylqrerie brs xiqssb Cov, «Ptiiose ont Ca
7, “9880 telugerrt ytev e est! ‘ettal: ‘end ‘onl
¢igil « to eaont ida wie teatolt sed ot ‘qnibaook et
-0 eit sero retvesif art niet todted ete: qunecten = a
| sottetupxs bas ebem yltsight yew oele ef otst
-ifD Yo sham Piflett BoBie-tter s tid tiw- aisi uvest re

he
a
i

otei-o08 oft mi babys ont esnttomoe ome alsiietein eeor. fi
ononetst-ebvetA belies ‘ed of ots veri tad ‘ (over bio)
-oT yrw eldevisonoont teomis ek 31° ‘fomome ai yvevH)

her of rsits sooaig yeowls bis yveed dove oBaw oubse A)

" $egtin oH .eotew Seige viivtttused elem of bodiees

ti tnd ,¢lerst viev acs ig yvaort fone smog bse on ae

e'altqua etd to edtow ate yond aidadord jnsxd otom 2b

; sre ets mond to wet yiev aLetvedsa snentad to. eben |

a - eerom gtorise-oT bettas ed of iphone: a
to eatow yne fos fis: ina tifa” {nie or git bt0D0A

ies eved vent avee et soteenoM Bettan at

. +Lhsup) vuteiest™ ‘beftso ators w Sacre

+ | contd. otnt aobnas gntsety ot et

| | Haast ondary ‘uso ing

, ison tae ne - se »,
oe eee re
res bas es

eae
a 7 7
i ‘, ‘
ee os ee

II--18.

The Meibutsu-ruishu says some Ko-Seto have blist-
er-like protuberances caused by the clay popping out
on account of the high temperature they were subjected
ta during the baking. Such are found almost in any
style of the Ko-Seto, and are called "Senbede" (wafer
ware).

The Bengyokushu mentions a piece called "Tatsu=
noichide". It was found at Tatsunoichi of Yamato,
and named after that place by Kobori Yenshu.

Some Kuchihagede(bare mouthed) and Atsude (heavy
ware) having left—hand itokiri or round itokiri, be-
long to the post-trip period. They look very old but
rather clumsily Ee It seems To-shiro ceased to
make the Kuchihagede after his return from China, but
his pupils s¢411 continuedto make them.

" Works of Shunkei To-shiro", says the Bengyokushu," ‘are
meade of a mixture of the Chinese and eee clays, as the
stock of tl foreign materials was getting low by this time.
Their make-up is light and beautiful, and even excells the
Karamono". The Meibutsu-ruishu says, their clay is either
light yellow or violet. “Their underglaze is dark brown,
while the overglaze is either dark brown or yellowish black.
The itokiri is usually round.

According to the Bengyokusha, Toshiro changed his name
into Shun-Kei later in his life, in conformity with a relig-

ious custom then prevalent. Sometime after this change of

SS

“tuo satqqog esto ont, xe sass aoaeiesasors er Pa

patos {due stow youd eviteroqmes figist ont Yo. tm00' OG | ee
wis mi teonte bavet, ets done samtisd ent pavers “
tetan) "obednez” beltao ets pris A080 3 sat to eive

Bs a
a")

. | ase et | (ster } |

avatet" ‘petting ee 8 anoitnom steumorgned ent |
votemsY to itotonwate’ te basot ew $I Mob bifotom

| _shtaneY trode xd eosig tact 19tts fomem bas

eveen)ebvetA bae (bositvom nei emoe “

wod ,fttiodt bavox to Psidot? Sasol, naive fersw ae

tod bLo eine root yan shoiteq qitd-deog ent ae sitoL er
ot boasso ottde-oT amooa $2. sober eitemuts. tender

tase (80k mort erister aid telts ohegastislout edt evtam

aftte rs e2sm. otheunitnos Likes eliqua eid

one’ x dehleaigicgllat odd Bye? Tottde-oT bevel? to astro © oe
ond 8 eansio easnsqsl bas sesrtdo ont to oda tar 8 ‘to e sit

oombt efit ve wot gnidden enw “eietiaten. ay ievo®. sit te. jet” ;

ant aiteoxe Rong, Bate: Lititueed bas, drigtt at —_ a

vente ak ‘alo thedd” eyse nse tutose dudtoM i Lea

anor 186 at aa tanith Heroty 10-4 4 whee

a epee satopeet ei ae
; ty aa a.» ay

1 vente.

Tiie- 91194

his name, he went to Asahi of Mino province, and made there
a new sort of were, which became quite popular and is calle
ed Asahi Shunkai.

A tea-jar called the Natsuyama-Toshiro was named by Koe=
bori Yenshu, on account of ite special beauty among so many
jars of this sort. The name. comes from a poem written by
Sammi Toshinari.

Some tea-jars are called Suricha or Kuchi-hyotan, ace
cording to their shape. Most of Shunkei's works are ina
yellow salina.

Some tea-jars very light in their make-up and
looking very much like a Karamono are made of the na-
tive materials and have either,right+hand or round i-
tokiris They must have been made by Shunkei.

According to the Meibutsu-ruishu, the successor of To-
shiro was also called T9-shire, To distinguish their works,
the first To-shiro's works are called Ko-Seto, while those
of the second To-shiro are simply called To-shiro. This
latter name is also used in contradistinction with the Shin-
chuko-mono(real middle age ware). Anyway, the works of
this To-shiro are usually very good. Some of them much re-
semble the Ko-Setc. As a rule, they look very old, though
some few are like a Chunko-mono(middle age ware). They are
made of a greyish clay, or a yellowish or pinkish clay.

The underglaze is usually dark brown, and the overglaze is

either black, yellow, or blue. The itokiri is either "hon"

ee

stedt obs bas Buse rong ‘oniM ‘to o tdied aes $e ia a ona ats
#ffgo sig bis tefuqoq ettup eunoed soidw 9x0 to roe won . 7 f

sg

- isa Wa 4 + Etat sia Be tetaBA bo 7 je
“oA. ud bemars sow oitieot-ansyie dai ont Botti tet-s0 A
AC Sant 08 ‘Biloms yvtused Létooqa atk to. ‘taueooe to oie Grad zt

ei
yd. aa mooq 6 mort samoo: oman oft hg a @ bat 6" etal

dnd)

GX. Fe aban ro eng la : a brsahdaoT Searle q

i ay!

08 .metoyd= ido to aot? bettas os erai+ses 5n08 a a ;
nk ots eitow e!tovens® to teoM “sorte whos of sntoxoo

\ r i ee

eit a. =H wie -s0sely wostey

= aed

bas qis-extem- ‘thead? ag tdgil ers aret~sot noe | |
san et? Yo obaw Gre oncme1e 3 awek sown wor gatos Me
=i -bawot to bastiediia ftyredit ts avert bas afstveted evit i
stoieuie qd shan aad avad taum vot “Veibios | of

-
oes

not to toarscoue ont ile renin da ‘ae of an totoo0k ea ee

ae lp a a
i

_sitow thon3 da ivgntda tb OT ‘sothde-oT belies oate oer ow

Epa

eaod efinw odedqo baftas ots. attow 3? otidaxoT text

nae dy els 7 Pa

abst bagnanscine’ patine, merges siege i OSE

ous va } lowe oe

II--20.

(regular) or round.

Those that are called To-shiro-Shunkei are like a real
Shunkei and girs Mcas Their clay is greyish white, or
yellowish violet. The glazing and the itokiri are about
the same as those of a Shunkei.

A tea-jar called Hashihimede”’ mntioned in the Bengyo-
kushu was ueeasebagel Yenshu after a little poem. The
tea-jar “Nodade’was also named by him after the name of the
owner, Nara Yahei Noda, before it came into the hands of
Komatsu oh ee The Ogawade was so called because it was
found by one Ogawa Sadamune. The Daikakuji was in the Dai-
kakuji temple. All these jars are very rare specimens.

The To-shiro-Shunkei must be works of the slater
period of the second ree ioe They are many of them
glazed in a yellow glaze like the works of the first
Shunkei. Some were made after the style of Atsude
or Horidashide. Among them the Chado-sentei distine
guishnes such names as O-bin(large jar), Mentori(round
edged), Mentorazu(unrounded edge), Sokomen (rounded
edge on bottom), Rosokude(candle), and so forth, ace
cording to their shape. Yanagi(willow)-To-shiro, I -
tome(thread mark)-Toshiro, Hana(flower)-Toshiro, et
cetera, are names derived from the designs. Then ,0-
moigawa, Takuwaezuki, Fusagari, Shimekiri, et cetera,

are names of some specific pieces.

cane dasiebt 0 ¢ | tine ner)
fset # ell ete Lodlandasotise~oT belies ots tect saon?
10 0d bel figiyets ei ysfo tient — boos eee brs estate |
tHods ote Itidoti eid Bia antsals ‘oat stedotw Aeiwol toy
Stestmude’s eS seond a8 emea ont ¥
-ovgned oft mt hosottnen "shonin ait” belies tei-sst A Siam

eT moog slittl s vette mdensY frodol bene ew seta wrk
eft to seman ef? setts mis yd Hesiveglee on le aaw*sbsbol 4st-s09 .
to .abnmad eft ofnt smeo- ti etoted (sbowt LorieY ars tore | ;
eaw t£ eeusosd beliso o2 aew sbanzn0 ont sno wedano%
senomboeqa OILY YISV Sts att, asade ora eon tient
“yetatevedd to eatrow of seu poaimi@ -artsia-07 ae
mont to Vite eis “gent 3 sotideso? bnoobe ont to Boivieg.
ge ont te aslow- eit ott osefs woLley a bye en es ~ cs
ebuasAé To elyte ond 1938 ‘ebsm stew omo8 , Eosituust
uiterb tetnoe-obest0 end ment anol come nae H

aie tod bebawox) neinosiod nies ‘no aa
hos trot oa. bate —,

ra Ze cerns (ean) HA ve

oe. sorters CaehteD: heh’

“4S BS

Tle=21.

The next successor, third of generation, was called
To-jiro. The Kinkwazangama was made by him, and his works
are called Chuko-mono(middle age ware). They are very rich
in gold color, and are even better than a“Toshiro. They
are made of a yellowish or violet white clay. Their under-
glaze is dark brown, while the overglaze is either black or
yellow. The itokiri is either "Hon"(regular) or round. A
teaejar called Tamakashiwade mentioned in the Chado-sentei
was found by Naraya Yahei at Naniwa(the present Osaka).

The Asukagawa mentioned in the Benguokushu was named by Yen-
ahu and used to be one of his treasures. The Kinkode was
so called: because its golden color was like that of a sea-
cucumber eeand ebay teeny Kinkwazan of O-shu. They are all
rare specimens.

Works in a yellow glaze, like a Ko-Seto, are more

in evidence.
The Chado-sentei mentions such special names as
O-tsu, Putami, Takinami, Hannyomo, Shinnyodo, Hirosawa,

et cetera.

The next successor, fourth of generation, was called
Toezaburo. The Hafugama or Kigusuri(yellow glaze)-gama
was made by him. His works are popularly called Chuko-

mono(middle age ware), and usually are very good. As

belies saw «Hoitsienes %5 ‘puts rosessout Pat
W edt vn ,-0T

avtow eats bee (mts yo shade aaw smegiteser ie
doit yiev sts yOnT (stew owe eibbtm) onom~oxtust9 bottee oe a
‘yest - “ottdaoT ss navd tetted reve es bas «totes ‘Bho nt |
“sao baur ston? sysfs efinw tefoty to fatwa fey s to oben ete
10 dosld tents at esefgisvo oXt eliaw mond wie ێ osalg
A .parot to (xefune1) "sort? tomtie et Bibtott ent wots,
‘totnee-obsdd edd at bono tino ‘gbawiteetemsT belteo istneet

| .(sfe20 tneesrg anid ewticnakt 8 torte stetet vt posro't eaw ~
sneY yd bese daw usewmloigaet edt mi bemotdirom snagenivak ‘wa
eau GhotAit siT § sestweeeth efit *9 eno ed of Been bre use
-#6e « to seit oof enw totes’ nobis ‘agt seusoed beliso oe
{fs sts ver? +a =0 to hesceasuenal a 0M “%o bivotetoue j
a iso a ~~ ‘vo senemtosge ot Py
sot ee cossenoit & ome’ cena WoL toy, s at aso : Hest

as vey lige ; a”
ee

ea estan Igtseqs aove ceneite totam ist

|

Ile-22.6

their glazing ends in a zig-zag line like a gablef they are
sometimes called Hafugama(pable ware). They are made eith-
we of,white elay or a pinkish ond, The clazing is yellow
or black over a dark brown underglaze. The itokiri is usu-
ally "hon"(regular).

The Otowade tea-jar mentioned in the Bengyokushu was

named by Kobori Yenshu when he got it after he had been hank

-ering’ for itofor aching time.

The Shibukamide tea-jar is made of a pinkish clay.
It is a very light ware, exquisitely made, with a fine itoe-
kiri and nicely shaped mouth. The Bonde is another very
fine tea-jar.
All these jars are rare specimens.
Works of this To-zaburo are usually in a yellow
glaze. Black ones are rather rare,
: The Chado-sentei mentions such special names as
- Hirokuchi (wide mouth), Surikogi (a pestle), Do-jime
(belted), Suricha(tea quern), all these by shape; or,
Yoneichi, Minanogawa, Okina, Hashitate, Masaki, Masa-
nobu, Atoj idai(1atex)-Shunkey Yoshino-Shunkei, et cete-
Tae |
The Meibutsu-ruishu says it is unknown who this
Masanobu Shunkei was, but Sakai Shunkei and Yoshino
Shunkei were called Mepidei (1ater)-shunkes.
According to the Bengyokushu, The Sakai Shunkei

was made at a factory near the boundary line(sakai)

ets yond Yoldes « axkt one - gsseate a antssig thest
-ithe ebsm ots vent. + (oto. eldeg) ssteg fs beLLas samttedoe
wollsy, at antesfs edt | Re Hatiatg.s 10 Perey ott. 16 3a
-vay at titdoti ext. orev aword web e ‘teve Aosld 10
(a | if “e(-retimgen) *siont® wie

asw. witesitongints ant at baste ‘Snes rst-sot ebewotd. ont

anat ased her ef tetta +f tog ad soniw udeaet frodoxt xd bomen 7
iB - 9 Gorkt” att 8 tot $k ‘ot pate - .

uate: fa tiaata 8 ae, 9 Sam at tal-set bimetedine eat J
eit ontt s dtiw ebm yisitetupxe ‘Stew dei bE ‘CISv ace, os |
¢Isv tedtens ef shaom odT Baia boqade eEsoin ine ints r

| . | | aateaet onkt E

. -

os

saneuiooge omer ats avet, anaes SEA |
mike e at yilsves ots outdasro? aeat to metoM, i:
‘ 6S18t seria ote aeno Gopi sss8fa,..
88 8oten salted ious Laisa | siaciecste at, . a

a

al if he me
= es ' mia a
a 7 bua ¥ a i ey i
- _
sain ie a
- 7 i Pi

4 t

ebdt oss senting a “ a

Il-<23.

between Mino and Owari.

- The Atogama (later ware), according to the Chado-sentei,
is°a general name applied to any Seto wares made after the
fourth To-shiro. Usually they are like a Hafugama(see an
te), have ener marks on them, and are rather clumsily
made es Some nice pieces were made by Oribe, Rikyu, and
-Sho-i. Then, there siete Mannyomon Shunkei. The ‘So-
haku" jar looks like a ees while the“Ane’ was probably
made after the style of the “Asukagawa’ or Shinnyodé(both
“mentioned before). Both these latter look rather new.

The clay of the Atogama is either light yellow, white,
or reddish grey. The overglaze is of various colors
while the die RACES invariably dark brown. The ito=
Pintiehs euiien.sthon™ oharouds

The Bo-zude” tea-jar mentioned in the Bengyokushu was
made to the order of a curjous priest (bo-zu).

The “Yamami chi tea-jars’are so called because they
have some zig-zag lines around them like a mountain path
(yamamichi).

The tea-jars called ‘Rikyu”are said to have been made
by Rikyu himself for curiosity's sake.

Those that are called Narumi are Saicea to have Been
edie by Koda Oribe Shigekatsu at Narumi of Owari. Only
sixty-six pieces of them were erie. aia distributed to so
many ar ovimcoae They are very rare now.

The Oribe’were made by Oribe himself. Some of the Na

on trewo bis oni neewted
aie audi edt ot satinooas e {stew cetel) ansgotA anit. ad
edt tetts sham astew ofeS yne ot hotiqgs smsa Loxsnes. adt
“18 90a) smegutsH s eXil exe yout ~hLenet 3 4 or direoneil ative
yliemuls tettss si6 Dats ,medt ao at sm ndbinnnn cus ee a
bas, s1vlt.<adts0- ed ea, anew. wer eke peed «aha
sod’ ox sterile. momoginelt suitors 98rd met? © .t-on@
yidadorq eew “saa” ott slisw _bieyhaw™ & eftl etfool ret stad
tog Ponoremmnaa” el ypaatead™ ents 40. elute od yeitts. 9 ban
_¢ «wen tedte: doo teital ssont tod | «(axoted benoit trom
Otidw pwoLley dnptt aeitte et. smagodA out to gato. edt.
atoloo avoitsv to at esalp xe odT OR dei bbe to
“oti eff ,nword Ateb besarte ar et esata sibnur ent eftiw
a i sbages-40,, "aod sodtti's: et tata
sew ulavloygned edt ot beabttnom tel-set “shrs-0f anit
+ (us-o0) taotrg auogsu9 6 to tebio sft oF oben
vest sauscad bellso oa ets “etaiesed istotmeieY”” ‘ext.
nieq atetauom s oftl med? baworxe aontl gsa-+ais emoe over |
: | _ ey ee + (Reto bomasmmay)
obaw. io eved o¢ biee, aaa podtnn: atsiesot ont
oxtse a'ydtaotwwo ‘sot tleamid inalth yd
need .oeart..st beaoqque, 918 aurea baliso. sis tent se odT
vind. .ttswO to: murs ta watolon isa adi10 shox ud (oben
oe of betudinte th’ ‘bas oben 9 ow. aS To. niahaw’ thawydete
acum 2 won ome ‘Wiev sts yen. aabeont sed taut
if od to ome ional aki Eummgenines te eat |

’

TI-=24 e

rum Oribe are very light in their make-up and very beauti-
ful.

The Nejinukide(stoppers) were so called because their
shape is like a stopper,

Some are called“Ane’ Yatsuhasi’, or“Isede.

The Sobokwaiyaki tea-jars mentioned in the Bengyoku-
shu were made at Sobokwai, Seto, Owari, near Mino province.

The O-gama-mono were also made at Seto, but they belong
to much later periods.

Besides these above mentioned, there are Mushikui(in-
sect eaten), Toshiro, Temmokude(after the style of the Chi-
ese Temmoku), Tobigusuride(spotted glaze), Kinkwazande, Ku-
binagade(long necked), Aburamushide(roach ware), Shinechuko
Kigusuride(real middle age yelldw glaze), Ato Kigusuride|
‘(later yellow glaze), Aoyede(blue streais) , Hitosuj ihagede
(one bald line), Kuchihirode(wide mouth), Kirigirisude(a
cricket), Nezumi Opin Coney and large), Nochi Obin(later
large), Tsukamidoride(grasping hand), So-otomede(young
girl), Do-zukade, Sigeeamidateieenae oe Akakumade (paw
of a brown bear), Oikayeshi, Nogimede(grain like), Toyamade
(distant hill), Niwatoride(rooster), Ekubode(dimples), 0O-
chihode(scattered grain-ears), et cetera.

The big jar shown in Vig. 1 seems to have been
made prior to the Nara period. It is said to have
been unearthed somewhere in the province of Yamato.

Though its top looks like a wheel work, yet actually

i arp : om tial oe aie 3 8° omer et ou
4 oboe “to ftendua ter poambotas ome ‘ome

«irioygnet asit ne Berto t tone ftat-s9t ssleighawtodos ont? a =

ssontvoig omEM tesn: _ttewo nate eteintodo® +6 ba oto" aac

gtofedt weds -tue ote $3 —sbat ale er9w oman ata 0 ont ay
1h sapotieg aotal foun: oo

4

aby bad bast: 9 ote ervetid (renadtest prods pees? 2obieotl Sa _
if oat Yo ofyta ‘ent “ott a) ebuoams yotitsoT elrrat 89: tooa
it s SbcemRNIAED 5 (esats ot tade) obi-isestatdo? ¢(aoause?. ome
olentomnbé® a Conta: fosoeyobiit uments 1 (Banboens gaoflebigentd ia

; * ebirwang i ofA -(oxela woi ler 232. atsote feet) sntinea ot ae

=

hea 1 ri,

one antl taeo et wedge seid) ct sla ie pwotise a 4

“ soaet)ateo tilool « edie > pepe’ icpsaaabina sient:
e. _gauroy) obendto +02 « (breed antqearg) shivobimeiue + (93°
aq) sbeininlsotl «(abet nbwert) abtueneyed aneguoes (ants
- hs \ abanavot ¢ (patty atetg)obemtnort etioow esto |
Se 20, stan nme stteteqondentse ow.

Tl e=25 oe

the whole piece is a hand work, very well made as the
ancient potters could. The fine lines that look as
if they were the wheel rarks were made with a wet cloth
when the piece was preparede It is made of a greyish
clay, and was baked in some sort of a furnace, and not
in a smoldering fire, as most of the early wares were.
The greenish natural glaze that came out from the clay
itself covers it on the ee around the top,
and.on,the inside, as if it was artificially glazed
with a water-plaze. The quality is rather sandy, and
not very compact in texture, but very hard and heavy.
It weighs 1130 momme(9 1/4 lbs.)

‘The Fig. 2 was copied from the Shu-kozu, but as
was remarked before, the owner's name is unknown. As
far as I can see from the picture, tne wheel-made piece
must have been made about the same period as that of
Bigs di. Its clay, too,seems to be about the same col-
' or as that of the previcus Wak The book from which
this picture was taken says it is covered with a greerm
ish waterglace, but I am inclined to think that it mst
be the natural glaze. Ola wares of this arene are
seldom, if ever, finished in an one ei aioe giand. Its
quality and weight seem to be about the same as those
of the preceeding piece.

The jar of Fig. 3 and the bowls of Figs. 2 and 3%
were alse copied from the Shu-kezu. Of course, I have

not, been able to. see the originals, but judging by

mofo 728 & Adiw sham otsw ote: _foedte 9s atom ups
tuk vets. 5 ‘to shee et 31 ‘shoxegang ‘sw soaked. ont ashy
ton brs + POREEINT. a to dt02 gitos at bowed . ‘ous vate eae

. otew ee'tem yirs9 ont 40 saom as RES gakiehfoma & cia

yalo ont mox? $10 sess ‘teat oxslg ferstsa da tnoets ost

i aia

“oslt no ft avevoo ‘Mest. ae

a

fos ont beworus edhe
hessig viistottkine iad 7 etd Be obtant anit 0 bas " om :
bas “etbnse evden at wai Loup ont - sueiigave tow 8 oa

ag
iG

vast bas buss wisy Sane gototnet at tosqnds oom
| : | (eat We @) eiurtome OBLL aitgtow a

iny

“es 0d HEodeude efit sot? betqoo ‘e8W 8 get oat e ;

hs is hp Ae
eA Ne ‘Cawbadon et Saar a troitwo adit sorated: bastante ath a
ae a ta ‘
soot ebaneLascdw fy ouedobe etd mov? 99@ neo T a8 1st
f a rs im a

a

‘to tant aa. boireq oms@ out fod ebar nood ovad sem ee
Loo ema ont tveds od ee amese oot eto. ill gs at
dotsw mort ood ent 009 auokverg odd to: tent oe 0.

cane :
9073 ‘s aitiw bo1svoo | at ti ayes note ed suotote atid fer
| ccm ta 4

tem th Said hn ot bont font me T ‘tot satan tew ce
: eee ’ bat O88 s eae ere te erm BHO. Peed eee fea
4) “at steve 4!

SS

IT---~-26 8

their make-up, these wheelymade pieces must belong to
the early Heian period(latter part of the eighth cen-
tury). They are made,ee I think,of a clay, either

greyish or of the usual earthenware color, evidently

covered with a greyish green glaze, not so translucent

as that of the previous example. If they are made of

a greyish clay, they must be fairly hard; but if they
are made of a clay of the resular earthenware color,
they must be rather light and soft. -

The vase shown in the Fig. 6 was also copied from
the same book. By the picture, this piece seems to
be about of the same period, make-up, and material as

the one of Fig. 2, though it is probable this piece is

a little softer in quality. It is said in the origi-

nal book,that this piece-is covered with a bluish glaze,

‘but I dont think it is an artificial one.

The onna-takasuki(bowl with foot) of Fig. 7, and
the Kubosuki (hollow bowl) of Fig. 8 are from the same

ShuekoZu. They look a little newer than those of

. Figs. 4 and 5, and belong to the early part of the Hei-

an period, as can be judged by their having a foot.

They are wheel-works, and seem to be made of a greyish
clay, finished in a glaze like that of Fig. 11. It
looks tke hard and Leone

The jar shown in Fig. 9 also comes from the Shu-
koZue Judging by the Yee this wheelemade piece

must be about eig#ht or nine,years old. It is made 6f

ettuebtvs or stewaedires Levee, ae

+ nao Lasn's oe Pott esate moots fabio es
‘to obs sis yart tI : oolqniies auotvort dt to og an ea
vent th sud jirrert Aehttet ed’ teu yer ‘ato. aroma |

. aye erewnedtie4 teint ‘enty fo vato BT: she 0 ors a
ig #5 Ftos bis trig if vette od seunr ee i

A bie fp

atid batqos jaxe aew a ‘aft ont at nwo eaR¥ ont ak ie Ko

Bs: antes adealy Bist gawrste ont ve “yilood gnr8e: oe

ae iakentem has ~qu-siem , bot rey snes odt to suds od) f a
at ecetd aii ‘eldadorq at tt Havers <3. sa8T 0 2ne ott a
igito ont di Biee et 1 wifey at ‘ettos sittes a ae
Sealy se built & dtiw bovetos af. Soekg aint atts Mood Tan a
. 9 81t0 fetortigis ag et $F Anint Saeb I tod

bas o alt to (toot ttiw Lwod) rine ent 7
ome eit mow? sis 8 .gf7 to (Dod wet aii a 4
70 eaodt Ment ‘oven eftes s Moot rent . :

a «tell add to et vitesse ‘ont ‘ot | noted § BRE. 8 ete
ms : Lacie 008 ry pat ved ates ve beaut ad. ae ‘as
ee: : dekeorts é 16 “etiam od of mode brs ie ‘
Pee Pe a * att st t0 font ott onaty.

stirs ont riot ‘ia: ots @ 8

Il---27.6

a clay of chestnut brown. The original book says it
is glazed with a real glaze, but it looks more like a
water-glaze, like that of the Fig. 30. It must be
hard and heavy.

The last five items have been mentioned here, as
I¥thought they might be of some interest to anybody
who wanted to know about the developments of the glaze
ed wares. |

The bowls shown in Fig. 10 are taken from the
Zatsuyosho. They were used on the occasion of the
Hagatame ceremony(see ante) in the third year of Yee
dkyu(1115) in the reign of Emperor Toba. According
to the Kokiko, these "Seiji" wares had been presented
to the imperial household from the province of Owari.
Prior to the Yengi period (901-922), this sort of pot-
tery was very rare, as it had to be imported from a=
broad, and was available only in the imperial. house»
holds So it was a rarity until ‘ie manufacture was
started in Owari sometime later. These bowls are
made of a bluish grey clay, and covered with a bluish
glaze like that of Fig. 11. They are wheel-made works,
and have. low bases. They look hard and heavy. These
are mentioned here to show the development of the: blue
glazing.

The HSeagan fragment shown in Fig. 11 is one of

those I unearthed myself from the grounds of Shigano-

8 otk L etom afoot tr Sur eosela fae
9 saunt st. 08 #gtt vied ta! Fass

8s ered hemo td noe aged ore ene tt ovtt ‘teat ott
ebodyae od taersitat smoe to ed (sigh yon ‘tauostt . 2
a ent To ee ont duore wore ot peonew ont

a ei Ay 2078 a:
‘

edt mor) aoed oie OL «ait At sowoste ated aft ch ate vs :
ost to moteeo00 sit Bo hides stew ont somone
det to ts9y% Betas, ext at (etns sea) qtomd~90' 8a
anibieaas (18087 ToLsqe to tr te oat eh ute

pedmsaorq good bast asta "EEtoe" ‘seem pene es +

. attaw0 to soatvorg ‘ont mont bfotsauodt Lot0m om . kites i
“atog to doe abst (882-808) Sobre igneY ed? o oF wort eta,
mm - ie - i= 7

“8 inhi ‘bos toautt ead of ‘ea + as et er ee fe uF

ra

ps ac,

2a orurtost nem att teen whiten ‘eS ew tt oF

< O18 afwod saci? atetl ‘eorttsmod Erow0- ak

| ‘ - dabode 8 atin boro¥o9 are “eat wore salud @
ee, 1 a - yetrow ‘shan-Lossie one. yout” ges “Bi to ic t
ote : eeent ae “yore bas brussl woot ent -

ao Semniere is woke oF .

be

=r a Mk iF ei

Ti ifieg~

Yamadera. It seems to belong to the early Heian pe=
riod. -It is a wheel-work,made of a bluish grey clay,
rather heavily covered with a greyish green glaze, o=-
paque and lustreless. It is hard, fine-grained, and
heavy. It weichs 29 momme(nearly 1/4 lb.)

The piece of Fig. 12 comes from the same place,
ana is of the same period, same make-up, and same clay,
\e is very compact in texture, fine-grained and heavy.
It weighs 2.4 momme(1/50 1b.)

The wheelemade flat bowls shown in Fig. 13 be-
long to the Nara period(710-784). Being made of a
clay of the regular earthenware color, they are soft,
brittle,-porose, and light. The glazing is of creamy
white, while the decoration is in a translucent green.
glaze. It is very much like a ware called the Cochin
yaki now, and it must have been brought in from China.

The Kokiko is a book treating of antique wares,

written by Kamono Mabuchi in the second year of Kwan-

yen, one hundred and twenty-nine years ago.

The onna=taksuki is a bowl with a high base, while

the kubosuki is one with a very low base. This latter

is exactly like a modern tea-cup.

The wheel-made water-jars shown in Pig. 14 is a
specimen of the Kiva Medede waite mouth ware). It is
attributed to the first To-shiro, but it is rather

doubtful. I think it is a work of one of his pupils.

| _ bas -boatorg-at 2 bert et “sestontéut brs shila
«Mel Ki smencinee eS enstow get sever

pooslg omnes. ost mot? @emod ef. eet. ‘to soota oat ce : a

aslo Smee bre _ghr-ortem antes «battag. ome orth to ‘and Pore
tyson bus haat sig~ontt eo wtKed ot Fosqnoe aera et a

| oy A ae o@\.1) tinea Be adgtow st.
«od 81 snif ob awotle elwod tal? sBante Dsoaty ott :
8 to shea satoe 4 S(ABP-01T) botise eel ent ine got : : 4
-Tioa ets Yord TR: erswttecdtas- talugoy otit > oO veto ,
Yet to ak anisels ont aw ttigtt bas eeotg soit ond a
98D dasoulanst a. at ei aot tst008b inte ‘ektiiw yodisie a 4
. attidood- entt botino etew a etit Noun vise at . a eset ne a

eatso ‘OT mk tassel need eves. soum tt bas wor toler - el
a0 supiine ‘to gattaoxt food » et oxtstolt ent if
~newi to As8 baooea ont mt Efosrd. ait ontomett: ‘ed aotttow i af
. ee wis at aad ater oatneytaowt bas porebment otto toy ae id
ott yeaed sgt 8 Sotw Lod 6 at bivestatwninne: Wich doe ae
| Sanat mae alg Laie! ate % adhe 3 80 st E biuenitenk ont

ant

II---29.

To-shiro did not absolutely cease to bake his wares
upside down until late in his life, but most of his
goods were baked in the opposite way after he had
learned the Chinese method. This piece is made of a
clay of greyish earthenware color, popularly called
"shiratsuchi". The underglaze is light brown and the
overglaze is dark brown, translucent like that of the
Fig. 17. Besides some yellowish, greenish, and blu-
ish spots, it has the so-called "uzurkfu" (quail spots)
The glaze runs down toward the mouth, leaving the edge
bare. The inside is also glazed. Lt. aechard in
quality, and rather fough in texture. As a whole, the
glazing and the general make-up are fine, but not ex-
actly up to the standard of the first To-shiro.
Probably it is a work of the second To-shiro. It is
heavy and weighs 640 momme (5 1/3 2b.)

The wheel-made tea-jar of Fig. 15 is an example
of the so-called "Karamono", made by the first To-shi-
ro with Chinese materials. Its clay is chestnut brown,
popularly called violet” and is very hard and fine-
grained, It is coated with a glassy translucent glaze
of dark violet. The mouth is glazedi, but not the in-
side. The itokiri is shallow and left-sided. It is
very lightly made and weighs only 11 momme(nearly 1/10
Lb.) Its shape is what is called "shirifukure" (bulg -
ed bottom).

‘aid to teom fod f gore atit at cere bis
bast ett sette: yer etteoqgo ont ad bented etow ;
ete 9 baw at eoeiq efAT + bostt in asoatsd aitt
beLflao viieiuqog «mwLoo prawnsdttEs asters 10 XS

tse 7s

edt bis sword dighf-at aselavebas an? r oneal j “s .

egbe sat aanvand 3 shtwom wae mar dca ven Tyan oat i
at brad af $f sbesedy oale et ebbent : ont eset
att,elonw s2A . soxstxot mi Hgvot tedtet bas evisu ei
~-xe tom tud geatt ets in Ped Lstess3. ont bm gmtnals

\sotida-oT start? elt %0 byshaeta, oft ot ay
at dI .ottde-oT buoosa oXt to. grow © at tt pit
Sega hes, Aad NL 8) unto 099° arigtow ous :

elqmexe aaet aL «ai he’ tatenet apart Lease. eat 4 i
widaaoT. text? ost yd ebain, « "anomie 1si" basbionnn. silt. o
| ; are: tuadessio at-yalo ef% -elsiroten aaar i atte
sae bee > aemEt bas, piss rev, at bas Storoty. rrele
a here a esas tnooulenstt yeasty = atin, betsoo ah.
otk sit tom cid aimee at esebiant ant.

ae
=a]

TI-=-30.

The wheel- made tea-jar of Fig. 16 is a specimen
of the KoeSeto, made by the first To-shiro after his
Chinese trip with native materials. The clay is dark
chestnut brown, and the glaze is greyish brown, more
or less graded and with some black spots. The mouth
is glazed, but the inside is left bare. Its itokiri

is shallow and left-sided. This piece is rather coarse
in texture, but heavy ~ spite of its light make-up.

It weighs 15.5 momme(a little less than 1/8 1b). Its
shape is called "marutsubo"(round jar).

The wheel-made tea-jar of Fig. 17 is another spec-
imen of the first To-shiro, made of Chinese materials.
This piece is popularly included in the Ko-Seto, but
actually it is mee to be called Atsude Karamono (heavy
Chinese) It is made of a dark grey clay, finely
sifted, hard, and somewhat lustrous. The coating is
of a black glaze with dark blue "uzurafu", the ye! low-
ish green underglaze slightly showing through it.

The mouth is glazed, but the inside is bare. Its ito-
kiri is left-sided, fine, and rather deeply cut. i Ba
is not very heavily buiit, but its weight is fairly
heavy, measures 33 momme(a little over 1/4 1b.) Per=
haps,this piece contains a little of Chinese clay, con
sidering from its weight and quality. The shape is
"shirifukure"(see ante).

The heavy wheel-made tea-jar of Fig. 18 is a spec-

a tee | ae a i eu =) rt a 2 ia Ye ie
a, - 7 i. L
‘ ie - i yy is . , =; '

sO8=<IT - ' . wee 4m i ;

nemtosqe « abaL watt ‘to atened ‘oben “toot, aot
eld totts ottde-o? serit edt. yd obsat sgt oat to
. Rah ai yeto oft _»alstioten avisen dviw qitt eer gD
Sai saahalies deivexg ak osely ont bir - tno. tunteeito
dtvuom edt \suaiberton Hoz2ild. si08 atiw bas hots ts ese to
ixialoti atl sated tel at obit! os6s- such bowahy at
eertaoo is/tear et aot aLdaT sis: 7aannsoiam bre woffans et
«tee ebnte tigil ett tesetige cit ursedl tid <ourixet nt
sék. oi {ME avr aedt east ettthe 2) simon G.8L etaitow Yt
(eet bawoi) "odva tive" hefles et ont
~ooqe ientons- ef VI eit a) 1eh=e0d shsat~Loontw ont:
,slettessen sesntdd to shem ,otide-oT text? -odt to nemt |
tud),0t99-0% oft at Hobotont vltatingod et esete etat
uvacd) “onomats2 shwedA” hel tao ed of tem at bse
efentt -, yato we web 2 To oben at Es dowants
al gitsoo ent . _gauottast tedwemoe boe , bist , bestia
~wal Loy odd Swtenws0" suld dish Atiw sein aoatd g ‘ro
Lo att dgwonds makworte UkiiatLia ia beeen nears ee
woth a3T yoted af obhdist odd) ted bossis. et tuom ont
Bi tus etqseb woddar “bre: BRET bebte~ttel at frta
phon ak tfatow att tud ,diind viivess view tort et
/ (dE ANE seve OLt9EL a) ouniom 28 eowweiom, yee
ite ‘tO “‘OLdShL & antatnoo eosigq etd? aqed
ak oqeite ot Casio bas tigtew ett mont gatrebta
Sipe eS Nemes 2 i ten phiesobi tae

IT---31l.

imen of the so-called "horidashide(unearthed ware),
made by the first To-shiro, with native materials.

The clay is of a greyish earthenware color, popularly
called the "shiratsuchi". The glaze is dark brown
with deep blue "ugurafu", Both its mouth and inside
are glazed. The itokiri is right-handed, shallow,
and coarse. It -is har@, coarse of texture, and heavy
It weichs 40 momme(1/3 1b.) As a whole, it is a neat
little piece, but somewhat cheap looking. Perhaps, it
ue work of one of his pupils. Anyway, it belongs
to his post-trip period. Its shape is what is called
"mimitsuki"(eared), though its ears are gone.

The. wheel-made tea-jar of Fig. 19 is a later work
of the first To-shiro, called Shunkei's Tobigusuri
(spotted glaze). It is made of a mixture of a native
and Chinese clays of dark violet. The elazing is of
buff color, glassy and crackled, and with dark brown
spots of a lustrous glaze. ©The mouth is glazed but
the whole inside is bare. Though sifted, the mixed
clay is rather coarse and sandy. Its itoekiri is
round and only slightly visible. It is possible this
piece is of "itaokoshi"(see ante). It is lightly
made and weighs 21.5 momme(a little over 1/6 1h.)

The shape is "marutsubo" (round jar).
The wheel-made tea-jar of Fig. 20 is another Shur

o@~
kei, made of chestnut brown, clay, though sifted but

am sia

, (a18w parsounoraPhb tet abtron —s

| eireiuqod _ totes srawneitt ns a ’ 80 + gate ee F

aword teh Bt ssaln ont MEtocatnytse™ ed porte ae .

sbkent Ans indi ett stot « Met ewsu" ons gota: ‘ava

»wollate (debit Siett at trios set iiseety ote

rie? | a vsesi bo sweet ho edts0o- <duset at a0 ‘foatts09 foe
iséa a BE t+, eLonw 3 en” (at AXE) onion on atin tow * a

+h aqeritet satistool qaato terwearoe. dard ysoste, efsser : a1

an
ao af
a
f

agnoled tf ,yewynA 8! temp ein to one ‘t8 iow eat cae

2,

a
Fale

peties ef tarw et ogee Bd ybotveq qtit-taom ati wie a
.ofoy STs arse esi. dgirons a, porces) Méstsectbumtat”

“ AxGW TOdSE fof CL UgLT Yo Tab-cot shamHLosrw ont 4 f
brane? ot towud® bettie (ortiva-0T teat
avitens “te erty te kan 8 ¥S ofan af tT + (oss

si et t ants on stofoty ssh te) eyed: .

II ---32.

not very fine-grained. The coating is of dark brown
opaque glaze. The mouth is glazed,but not the inside
The itokiri is left-sided, fine, and deeply cut. iSe
is lightly made and only weighs 15.3 mommne(about 1/8
16%) The shape is "marutsubo",.

The wheel-made tea-jar of Fig. 21 is what is
called To-shiro's “tobigusurilspotted giaze), made of
a lustrous black clay, coarse-grained but hard. iba
is a work of the second To-shiro. The glazing is dul
dark brown, with light brown and black spots. Both
its mouth and inside are glazed. the TE Owe tel Ss ound .,
coarse, and deeply cut. The weight is about medium
and weighs 35.5(about 3/10 lb.) Its shape is what we
call "kaki"(a persimmon).

The wheel-made tea-jar of Fig. 22 is another ex -
ample of the To-shiro, made of a greyish clay, rather
coarse-grained but hard. The gkaze is dull dark brown
with a greyish tint. The mouth is glazed,but not the
inside. The itokiri is round, coarse, but very light-
ly» cut... Perhaps it is an “itaokoshi"(see ante). Its
thickness and weight are rather medium, and weighs 50
momme(about2/51b.) Special attention is called to
his name and date("February eighth, one of ten pieces"),
inscribed with a spatula. None of the works of the
earlier ceramists had any inscription, and this is the

oldest. piece I ever saw with any inscription. General=

cword iad} he, ak pakeene att cpus . ,
ebtent ait tou ud bene: st inom ost xT, (seantn s c
(tL ste weesd bus: emt? tibtaeiver at tutdoot -

8\L tyoifs) exam £,8L ei tow yLne. boa ofan efI intl et
eModuatutea" at ease oat... te eat

at taset_ ai £&..3f% to rst-s0d: shane Loos oat Shy ed
tq. ebst lessta bed tome Stxuasg tdod” atetive-o? poliea

Fe

zt obrsa. ted) benieis«s8Ts09 (eto: dtosld awontaus a

tub a gutsely oat. sotkde-oT bnooss one To anow ro “et a

dito. satode gonna bee nword tip be als bw eons 2 ab # ni

, bavot et dridodt, ent. »bsseis ots obient fae sharon anh :

sitar d Beat Fpaate ak tgiew oat . «tes Ylasob bas eeene0g :

ew tatw ei eqeria a3 Codd. One dnote) 8.28 arnt ew bas ee

| : (rrommiateg. 6) ola itao

hae rostons oy RSs; ce to. xsi=se9 sbam-Lootw gi i

nediex ,walo seiyets = To oben (ortstenot ost ro-ocme
aword ated Lieb at. eagty exit oebred tu6 nn aE 1

Bact jon, ‘aii ak diners ie |

lag
¥ |
pa

II --33.

ly speaking, works of the second To-shiro are very mum
ides tie predecessor, but lack something of the strens
th of the latter. The shape of this piece is called
"katatsuki" (shouldered).

The wheel-made tea-jar shown in Fig. 23 is a
specimen of To-jiro's(third from To-shiro)works. It
is made of a dark violet clay, coarse-grained but very
hard. The glaze is black, but shows its yellowish
or teens brown underglaze through it. Both its mouth
and inside are glazed. The itokiri is right-sided;
the thickness is medium. It is heavy and weighs 40.5
momme(a little over 1/3 lb.) It is called RatgienmasOr arts)
in shape.

The wheel-made tea-jar of Fig. 24 is another spec-
imen of To-jiro's works, usually called "Kinkwazan (name
of the furnace)-kigusuri"(yellow glaze). It is made
of a greyish brown clay, hard and coarse-grained.

The glaze is rusty red brown with dark cloudy spots.
Both the mouth and inside are glazed. The itokiri is
left-sided, coarse, and rather ugly. It is not very
thick in its make-up, but weighs 30.3 momme(a little
over 1/4 1b.), rather heavy for the size.

The wheel-made tea-jar of Fig. 25 is a work of
To-zaburo(the fourth from To-shiro), usually called
"hafugama"(gable ware), as its Blazing ends ina zig-

zag line like a gable toward the bottom. It is made

bo L680 et sane stay: ‘To uate gate th retest oad sede

pre bea dc ic seoionnadlaarasaeaall |

* ak es. ait tk, invite errr Sbahwfoortw: ext |

ae altowlovitte so? mov? brint)atortt-o8 to ‘Memtooga bit

yiev tud benteis~ea%rgos | wate teLoty Sah ete aban at

‘setwollsy. ati swore sud plonts et aselg ext. + bred

dtivom ett Atod wht Agios exelsiobnt word Hyer: to.

bab reveigey at itinott ent sboxsig: eis obfent bas

2.028 efetew bre yveod et #1 sci best ‘ek eeomiotnt ext 7 iA

(ninan i) satsrt ssh beitas et aT ” ag ~ evo eftsee 8) emmom *

| oes: SO yee ot

oege. sertons ef SS .ght 40 ehnaat obsmeLesktw nt a

“eat att) email cI” be Lipo Yilevaw , ax tow etovtt-o? to oii \ a

| o bat at 3t .{esaly wor fey) "twang ix (oon? ‘one eee ;

| pbentery-ents09 ‘pas bist ,yalo awo a ‘Metvery, Be ‘to.

etogs ‘ebuolo ssh Atiw cwortd het yaur ef onsty « ext

- at butaos! of? pits ote ‘sbtant brs von art ne

eee ton at Dp aes a renidey bas (881800 bobtendier o ;

restssa _) enon E08 siigtew fue! si atk nt woke veal

se gt i outs ont sot vast ‘ . a vo
ny atiow * ‘er en iat 3 26 Liam ati c + ft

a iF iy r. Hse
ae aw are " an ;
“4 Di is

. : maa oir" 7

iw, ; f 4

cy

tat
.s a
4

re
Fe

II ---34,

of a clay of the regular earthenware color, slightly
dark, coarse-grained but hard. The glaze is dull
dark yellow, and covers even the mouth and inside.
The itokiri is right-sided, coarse, and shallow. Tt
is rather heavily built and looks rough. It weighs
54 momne(5/1l1 lb.) This shape is called "kuchihiro"
frat mouth).

The wheele-made tea-jar of Pig. 26 is a specimen
of what is called the Sobokwaiyaki(see ante), made of
a greyish brown clay, rather sandy and not very hard.
The glaze is dull sooty black, and does not extend to
the inside. The itokiri is right-sided, coarse, and
shallow. The weight is about medium, and weighs 43
momme(a little over 1/3 1b)) This shape is called
"vyekago" (a Cievemnante bait-basket).

The wheel-made cup of Fig. 27 is made of a soft
coarse clay of the regular earthenware color, and is
about four hundred years or more old, The glaze is
greyish light yellow, probably a water-glaze, very
slightly laid. Its ie sgueweee translucent about the
middle, but rather lustreless around the top. It is
light in weight, and measures only 15.5(a little over
1/8 lb.) The itokiri is round, very fine and shallow

A»
so,that it is hardly visible. (or Koei)

The jar of Fig. 28 is a specimen of the Nochino-
Shunkei(later Shunkei). It is made of a greyish clay,

abSa04 FT Sete tie

— Ultigtte ,toLoo etewnaridies Yéluger Siti to vos
\Liub eb exeln 6dT sbtet ded hentien-se1809 tie
«eblant bos dtuom edt neve sis VoD bres Wolter web.

oa swoltaria HOS 4 FB Ie0o <bebke~ tigi et uttoté: gat
Siigiew a 8390 exods has titud tatieedi redder ek

"ori disoul® feLise at eqsne ethT (af [a\e)enson be
[=a | ee atte)
aemtoege Bak 8S .gf to taj-s8t sbamLderw exT

to ebam , (edne sen? iikigtedtodes sit fotewn et — to

Sted yey gon bee ybnes venttiere “xyelo oword awkyonge
oF bustxs ton ao bre etoald ytooe Ifvb ef ssilg onT
brie , 9ers00 bebtaatigis ai Evidot? sAT ,ebtent ont
& efintew bre Msi bem. tuods ei thyisw ent .«wollarle
beLiso at sqeds etaT ((df E\L revo eLtdit s)ommom
7 | . (tedasd- -~tisd a nenrtode tt. &) *oxexioy™

toe £ +0 sbent ak ¥S «git To qa sham-Ieedw anT a
al bre. e tof 9 oheweceddvenn tereges ont to vers get Loo (

“gt esata exit bio srtou 10 avsey, borhan aset trode

; ‘UIs oaaty~eten &' yLdadorg emoLLor dete Setysry

ond twods teeosfenayt sactwomoa ei #1 sbtal eltegife

ah. r ld out bovore ceetexeond: vende. tad «eo Lbbtat
18¥0 sfstil aevel ‘gine aewssem bow ,tigiow ab tages

Bond bas. sant anenss ef bxisott ox feat es

a! sips “ “sotdtaty ibs et dt tertyos |
| | esd Sovmemtonga oh Of ght to aat oot i"
; wate sane s sachersies a — tetsl) tevags

atl. Poe 7s io. a="

Ebceeteaay,

and thinly covered with an opaque chestnut brown glaze
Tre mouth is glazed but the inside is bare. The ito-
kiri is round, fine and shallow. It is not very heavy,
either in thickness or in weight. It weighs 32 mome
(a little over 1/4 lb.) As a whole, it. is not a very
beautiful piece. The shape is "katatsuki" (shoulder -
ed).

The manufacture of earthenware in the province of Bizen
dates back to a very early period in the history of the
ceramic industry, as it is already mentioned in the Jogwan
-shiki(book of ceremonies compiled in 869A. D.) It was
made of a red clay, but while baking the outsides turned
bluish grey like any other ceramics of that early period,on
account of the smoke, while the inner part turned dark vio-
let. Some of this ware is covered with the natural glaze.
It was not until about six hundred years ago that the water
glazed reddish ware, now daliked ene Imbe, was first made.
Then,about four hundred years ago, the industry made some
progress there, and the ware we now call the Bizenyaki was
being made. But still it was a very simple primitive af»
fair, with no colored glazing on it. Of course, in some
specimens we notice the water-glaze turned out in reddish
or yellowish color. But it has more of the appearance of

the natural glaze, and is not exactly what we might call a

colored glaze. Among more modern works, some have only a

why ee ie, oe ee se SDL |
208 ee | a
esslg nword tundeorio owpeqo ae saute pexevoo eat bue
woth ost ssrad at shlent ont ted boxety at citron ai?
span viey ton af at +woLLoste ka’ beam auso's at beat
awhom SE arn tow $1 “ aStig tow a L0 ‘eoemioint est reditis
yey Ss toa ef tf elodtw s aA {ade ar "*8¥0 eitstr a)
~ rebLuode) Vilwad ade" ek veils oat seoekg gras eens

neste to pail cole ont od rrewnesisat to sudo stuns ont
F oat to vrosett eat at Bu dueg vines er0v - ot aoad eeteb
nairgot oxlt ak benot usu vonarts ai oe es widenbet obmarso oo
Baw or ie a » AP OB nk bsftqmoo ‘eetmowe190 to food) £itia~
boast eobte two out amband: elite tid (velo box sto oben
a, bolien ites teste to aoiney 99 tasiso: terre oak cerry Matuld
“oly ash berwt iq vest oid efinw etoue ont 20. tayooo8
comely tevuten ants dtw bersvoo ei stew sit to ano8 tet.
a9deW nd decid ops a1ey boron xhe Sardi Litas ton gow $I
soba dexit aow ein td ‘hedteo. wor ose iekpoor Seeate
-emee o hats witeubat ont OBS a189e pesbauusl Wot tots, ned
aw bleynostd edd. Hise oor ow aysw ont. ‘bone ‘eortaKtd aastyo%g
. ats evi Simi slams, cio a as tt obi int _ soba gated

ue ee re

“moa at (28109. 20. ois 10 ‘gutsety bartozo0 on ctiw ettat
| | seipbex at. “tao. aa osetyer9 tow oxid spkton an anemtooqe
A 7 s ae. ae oh ao. ;

oo ‘sonetsoKs ont to! Rar eat 3 ht head stole, dakwoLfoy “6
eae yi! ai
sitw Yiteoe st hon aesets. fait ent

- oe it = i
re - i h ait
ie oT 24 ma ie Le :
ie Hi
7] rl — eae

Il-==35,

polished surface without any glazing. They are very compact
in texture, and very lustrous on the polished surface. Be-
sides the utensils, some of them are in the shape of statues,
birds, and animals,
The hand-made bowl of Fig.29 is made of a dark
violet clay, very hard in quality. The coating is of
a dull yellowish glaze with a black tint, and applied
in rather medium thickness. It is heavily built and
weighs 96 momme(4/5 lb.) It looks about five hundred
years old. According to the short history given on
the box , this piéce:was found by a fisherman on the
Nishimigawa beach of Sado, on a very stormy day.
Evidently it had been tossed up by the waves from the
seae One Kodama Moyomon of Sawanemura bought it from
the fisher. For more than two hundred years, it was
treasured in the family,Ojoda Senan of Kawarada, from
his grandfather's time, until it was brought to Yedo
by Yo-zan Guabo in July of the sixth year of Tempog
(1835).

The hand-made water-bowl of Fig. 30 is a speci -
men of what is called the Imbe, and is about five hun-
dred years old. It is made of a chestnut brown clay,
very coarse and hard. Its thin vitreous glazing looks
somewhat like a water-glaze and somewhat like the nat
ural glaze. Not only the inside, but even the bottom
is glazed. It is very heavy and weighs 263 momme(2

1/5 1b.)

-
a
'
7
fe J
_

Z

-

ae is a
~08 seoat we aii 2 ad? a0 pela ee rie |
poutets te » eaerie ont ak ote sont to ‘omoe sibonvie ery wobte a
| as : vag tana (2b%! is I

“aaah # t0 eban ak es egit: 0 Swed. ‘ehsembaset san
Lo at gattaos oat “htbep wt bret! wow etal. sefoty a
beliqqes fas ,tais aosld & sit ke eset: AgtwoLley, Lith * |
‘bas tLtud thivesr ei 31 sreanto kat nue pan “octet ne
ihe seeps svi? sous a¥ool. + “ t di Ae esto ae ‘asigiew
- 1o nevig. | Yess te Pedy ont of anttxonok bio aust
eft no memriedeit x, we Sasot hii sosita ait i xod ott ;
Veb watts yw 6 Ho ober ‘te. dosed arecptosksis Lt
ont mont eo ve ests xe pa beeao! need beet $k wie saebee
i mor? ti. tiguod arene cient xe Ys. nomoyol nebo ead .
| | | oo - eR tBSY berrhourst ow? sate atom 0%, * xor'att ett:
Bla ee sbersnsH to mngjnee sbollcltmet ont ab heweeert -
ae Re obey ot ssipuiond enw $f tim ,emie a trositethners etn
i as v0 nook iiaabe ant ~ oot ae oc aex~o¥ we

ft ~ ro
Tig : ee Lae
7 x a“ ‘ 4 ir 4 } 7s
Fe ' j { ; ; aaa By a 2 ot ;
re f : o)) ; aoe i nig , hl FF i. : ie ais
a i ver Pt

- ey

- F
ath wee r.

~ + Hoos» ® a 08 em te sodas tor apr oat

Ti-u2o3%

The water-bowl of Fig. 31 is a specimen of the Imbeye
ki, about two hundred years old. Its shape is that
of an ancient "tsubo" and later called "ryuza". Et
is made of a black violet clay, hard and fairly fine-
grained. Its lustrous glaze is about of the same
color as the clay, but it has some yellowish and red -
disn spots on it. It is heavy in weight and measures
410 momme(3 2/5 1b.)

The water-bowl of Fig. 32. is a specimen of the
Bizenyaki, about three hundred years old. It is calle
ed "Kayatsubo(a nut bowl), and was originally intend -
ed for nuts. It is made of a chestnut brown clay,
rather coarse-grained but hard. The glazing isa

little less lustrous than that of an Imbe,is of the

x
same color as the clay, mottled with chestnut brown
and yellowish spots. This piece is heavy and weighs
480 momme (4 1b.),

Ninagawa Noritane.

January of the lOth year of Meiji(1877).

ee ce

acon ‘edt to nemivede @ ef £8 .9tt @ fnog-18 30 en?
tat et sqare atl. +bLo Sts8y vorbnd ows tuode tol |
af » awy" beliac “totel ‘bre Nocera t dastons ae to
-onit yLlitet base. biad ,.yelo teloty aowld: £10 sham at
opise eat to suods ek esaly anorte ut art ber taty
+ bet bas delwolley emoe eat tt dud ,yslo. sift es toloo
getisasom bas ddgtew of yvest eb $I stk no. etoue deb
(.df &\$ S)ommiom OLB

edd to nent oeqe s om #8@ sg 8T to lwodote dew ont.
wifgo eb $1 wbfo eissy bethaui cent twods ,iteunestd
~basint yllenigize caw hire _ (food hin sPvttiveeancdt be
Xedo aword tunteéne & To shes Bi 32 sey 16t be
& ef — aT hist dud benistg-sets00 tedt ex
- ent “to aorta me to tedt catt avowlent esol eLstil
tidied nantenee tite Mak ein ywalo sat es t6Lloo eee
efigtow one yvsed el eostq ein? sdtoqs deltwolley bas
| As8f S) ommom 085

“sented Exit away stilt

+ (ever) teen to neoy AtOL enft to eae

Kwanko-Zusetsu

- Illustrated Notes on the Antiques
Pottery

Vol. III

By Ninegawa Noritane

May of the tenth year of Meiji
oy gia

Though the glazed earthenwares called “seiji’ were
first made in the early Heian period(794), yet the sup-
ply was so scanty at that time that they were only used
on such rare occasions ask! hagatame" ceremony, and nat-
urally were entirely out of reach of the common people.
Compared with pottery, the lacquer-wares were much more
in advance, and it seems they were being used as daily
utensils among the middle and upper classes about the
period of Kwanji (1087-1093). Of course, some series
were in use among the lowest class, but they were un-
glazed affairs ofavery low grade. Not very far from
this period ,jhowever, some glazed bowls or jars were
being made in Bizen,Iga,Shigaraki, and Tanba, whieh
sometimes found their way even camong the lower classes.
They ,when the priest Kohben popularized the tea-ceremony,
some Sung-made jars(glazed), originally made for drugs,
were much in vogue as tea-jars. After To'shiro's time,
several kinds of glazed wares were being made, but their
manufacture was limited to some tea utensils, very rarely
jars, or water-jars; and etal very few daily utensils
were Were ee out. Ashikaga Yoshimitsu, most con-

of ig guanine eapaevenii ems style as taught

Sspicuous
by Shuko, made the already fashionable tea-making all the
more prevalent by his enthusiasm. So did Nobunaga and

Hideyoshi. The latter patronized the tea-ceremony of the

ee

otew' ‘bttea” bettas. sin aa :
-qua ont tey (B20) boit9q pa ures edd nt ha text?
hoes Vimo eraw yout tad? omit test te Wawoe 08 anw wa.
dan has Yaome Teo enstesentthes anoiegooo otet tose. O-
-efqoog nomatos ant Fo- ieget te duo. vexttae ones sian
orom iosim exe asten-temp0gt eds etrestor atin Sereqmed -
viteb ee bean gated eTsW edt ‘eabeb “tt oes ‘oomavoe, at
edt tuode epaento ssqan" ‘bas stabim ‘ont arom eltenets
eoimeteo sos 22T500 20 (B00g+800) Ehaamt ‘to boiteq
-ir otew vont tid | 288150 teowol ‘end gnome eam mi. oe
‘gott tet. viev ton | 8087S wot reevato atistis hexelg
otew etst 10 etwod fexats ‘emoa + tovewors (borreg eldt
“dotetw eina® ‘bas Peres id? gl aos ld ab eben anted
saeane to. tTewol. ott: vpn ined yew boa? bavot aeuitemos

“ tnorieneo~ 409 ‘od ee iumog nodriok daoksq ent notin goat

oes ae
4 * - Pea

~

aaah *s5% eben Uledigico ,(bexats )exst! abam-anme emo
omit ‘@toxide” or tert satet-aet an ougoy at stow crew

xed tod ” a gated ‘exow aeten bases to abate forores |

neitcl eno ot bod bate aan ) oavtostuaam

Iif--2

famous Rikyu so very much that a "tea" was arranged even
for discussing military matters. Remunerations and prizes
to his meritorious soldiers were usually in the form of
some tea utensils, instead of more expensive gold and silver.
PRereupet ees not only saved a great deal to the treasury of
this great general, but went a long way in making people
learm to appreciate the value of antique wares. Under
these circumstances, the manufacture of pottery was exclu-
sively in the line of tea-utensils, but those for daily use
received but little impetus from the "eed, and the lacquer-
wares were filling this popular demand. It was not until
after Hideyoshi's Korean expedition that the pottery found
itself popularly used among the classes. Hideyoshi had
brought back a number of Korean potters, whom he distrib-
uted in the several provinces of Hizen,Higo, Satsuma, Chiku-
zen, and Nagato. Since that time, pottery has becRme
more amd more popular, until it superceded the lacquers
among the coOmmom people, and the latter held their pvosi-
tions only in the middle and higher classes.

Sung is the name of a Chinese dynasty which came

to power seven hundred and noinety-seven years ago.

(963 A. D.)

neve begnewts gem “ast
biti baa: enoki st: sr ETOIveMm YEse Lt
Yo mxot. odd wh pears Renee ig deeresion ati et
tovike. baa blog. sviaconxe. ‘exon: 20! beetent yaliamots get emog
to yisakett edd. at feeb: teens 72 bevan

t 0 ‘ton eostuge seed
elqoeq. ge iver. ah. ‘qew. anol im? ‘teow tad: vfeorensg: teeny ‘eed
tebst. .s8OTSW emp itas: to outer eit steiostate oe mtael
-oloxe eaw yredtog tO ert oetunest | ‘edt -{esonesaniworts: beedt
ean tlieh tot. e2ort tnd .altemeti-sed: ‘Yo onkt” ml oat ‘et olowte
Toad woxk @uteqmt 0f%: rn bevteser
Cites ton. aew oT os xetoqon eae amen eae eran —
barrot qrettog. edt tenid wottphogxs tOLON
best tdeoyebin - “sees fo ei arom, Be at
dbus ent, inort =e nn 0% wed gt

“Tempest odd bas be

‘III--3

On the Glazed Harthenwares.

Ashikaga Yoshimasa(Jishoin), who built the famous
villa of Higashiyama(Kioto), was a great collector of
ereat paintings and excellent bric-a-bracs, old and new.
It was the daily task of his connoisseurs Noami and
Soami to judge, give names to, and take charge of then,
not to speak of their incessant exphoitations for any-

ymackno
thing worth while to be added to theugollection.
Neither time nor expense was spared to enrich his collec-
tion. Then ,Nobunaga and Hideyoshi were no less enthu-
siastic than their Ashikaga predecessor in natronizing
the tes-ceremony and collecting any Chef-d' oeuvé, with
the help of Rikyu and Sokyu, their tea-masters. The so-
called "meibutsu"(famous wares) mentioned in the Xokon-
Meibutsu-ruishu(Book of Famous Things, 014 and New)
ecitectrd by these three digmitarics ere cetted meibetou
(fomews) and refer to the things that belonged to the
collections of these three dignitary collectors.

Later on, another great patron of art and tea-cere-
mony was found in the nerson of the famous Kobori Yen-Shu.
It was he who called the attention of the enthusiasts to
the fact that there were many an excellent piece among the
so-called Atogama(later bake) and Kuniyaki-wares, some even
better than the Koseto(old Seto) or Karamono(Chinese-material
wares). He picked out himself several exquisite pieces
of the Atogama and Kunivaki, and gave some special names +e

them, a6 thes immortalized them. These are called Chuko-

me

enomey. ott ) eLtwd 9am Shi
to rotost ion seers a aon 4 Ye
| e-otnd tattoos Bas

Si iy eu oath

wert ‘baa. Sfo 80ers

bas. nao aursaetomsoo att to Aeut tae ant asm $1

yer ee

mont to. -egtade, oaied, bag sot conan ovis: voabert od biheoe.

= Bo anoitatiodare ‘taesgoont abet So: adsoqa os: ton
ease

moitoellogieds ot, bebe od of ‘ef tdw ditzon golds

-oefloo eid doltne, ot ‘bereqe aia penoqne 20m omit
nit ne gael on atoW tao-cebas bate agonudoly a9?
gate knonte: ae ‘eanooeboxg agadtaah those asd’

‘rks

eh.

rodtton -
-qoht
oltesie

_dttw Bys00' beso ae aeiteation das » santa oooh ont

= 08, ed? .atetaam-s0d xhed? ch
_-a0%0%. ent st beno2tcom (weno sina
| _ (wort bas, 20 agnkat atone ie.

i eee

III--4

c
Meibutsu(medium old famous works). From his time on,
those treasures that used to be called "meibutsu" are
called the Daimyo-mono(Feudal-Lard wares).

The clay and-glaze of the Atogama and Kuniyaki are
not all the same, as they were made in several places and
naturally with different materials. | Their itokiri(bot-
tom designs), are either jun(normal), gyaku(reverse), or
maru(round). As a rule, they are not very beautifully
made, especially, the Iga, Shigaraki, and Karatsu wares.
But the Takatori, Zensho, and Tanba wares are fairly good,
though, ofreourse, different from the Seto.

Ashikaga Yoshimasa, the Shogun during the
reign of Emperor Gohanazono and Gotsuchimikado
(1444-1473), was known by several other names,
such as Kisan,Dominsai, Higashiyama-dono( as he
was living in Higashiyama, in the Toleyudo within
the grounds of coanegcul ee He
died in the second year of Yentoku (1490), at the
age of fifty-six. (By Chajin-Keifu---Pedigree of
Tea-masters).

He built the Ginkaku (silver house) and
notfudo within the grounds of Jishoji, better
known by the name of Ginkakuji. He also built
there a little tea-house, where he used to invite

the tea-master Shuko and several feudal lords to

| et, aks eee a
aia tai Iie that 51 a snd CET Bins i Masa et

sy

6

te: ae eco fai nage apna eid
exe "ustuszeg" botise: a or te tae. eoxpusie?. sole:
_ abqorina buod- Le us8 26, rognied rit: boitee

ets ide yian bie acuaigats, $8, Yo, eanrs-aen wele” ‘ont
bas aanels. Samereneh eben, orew ond: ee “ ont £fe ee,
~tod itistot£, mb enh peake tapten droaetaes ten Biieist ol
TO = Sonia lesa tadite ets ,(emgtnes wos.
ooo Eitateteeed Sttew Tom. bee ede. ‘joist ce ak» Shiau
- .e0tew seers bere. ileteyide .ayl ods el fenboges 1 oheat
oaoee cea SU. aotee diag Paw. soetanes sitoredeD. ould da
Oe sae, Pena yie 8, ao 00 iy. ape:

dit wnt tb atrgont, ost! “asanlap ageatintad

- ghexktaitomedo?, awe 9 , ba 22 i708
mote “stoma sto enn ores ta (POSED.

a
=
Rey ee
Lal

IIL--5

‘tea and to Beige di hr collection. These
igechasthes were called Sukiyano-Kwai(gatherings of
connoisseurs)- It was in his time and under his
patronage that the tea-ceremony was brought into per-
fection. (By had&-dent&--Developments of Tea-cere-
mony).

According to Yamashiro-Mei shoshi (Topography of
Famous Places of Yamashiro), this tea-house in the
Ginkakuji temple is the first one of the kind. The
nine feet square. The silver—nouse is to

ys
the south of the tea-house, and is two-storied. The

room is

first floor is called Shinku-den(Free-of-Care-Hall)
and the upper floor is called Ko-on-kaku(Music-of-
the-Lake Hall). There are two images in the build-
ing, one of Kwannon and the other of Yoshimasa Himself.
He was such an enthusiast of tea-ceremony, espec-
ially the style established by Shuko, that he condescend-
ed not infrequently to visit the tea-house of Shuko,
Called Shuko-an, which this famous tea-master had built.
at Rokujo, near Horikawa, at the instance of his patron.
Shuko, the favorite tea-master of Yoshimasa, was
a son of one Mokuichi Kengyo(Murata) of Nara. He join-
ed the order xe Ane early age of eleven, but he quit it
at twenty. At the age of thirty, he went to Daitokuji,
of Murasakino, and took up the cloth once more, which he

had cast off, “But while he was engaged in zazen(sitt-

ced? amb ttoe ton, aidantenal : :
Ros ‘agate ht. |
aid tesa em: Petre ‘ete ia eam $0
=r0q ofat ddgadud ‘a qndnet002802 oft: te wi
\ -eteo-ae? Yo adnemtih Covet tami deat’, anno
‘to pleas coven -giiLbYOoGN”
ent ab easonvapt abate (ortdesany. to) goon tt \estsinia't
oft fats ocd to. sna, one. eet ef. etames ifseanto
ot at Seon vor Lie ont. _ etenpe toot iaerlas whos
on? bottote-owt et jas: «San odeeet ait to aitwoe ony |
(Liat ored-to-s0xRnbepeitee ‘petiae of so0rt dene
tos obadlt sisiiatno~om savtec: at to0rt xeear ent bare
~bL ied end Hi ciadatt owt ons: sede ip ee exaTsontt
i aa ae ‘romagier to eno a
| , Peabendtee ms fost ‘Geir ox. |
~brlsvaesa00) et sua! Pi oto et Beliei etna ‘ange ett ‘gts 3
oxi to cowd-ae! oat Sheer “a asseateie ‘vost be

th thay on ngs gare to ab
anos tte anew os |

IIIT-~-6

ings for religious meditation), he was frequently
annoyed to find himself a victim of somnolence. One
day he told a doctor of his trouble and asked his
advice. Wes Gieeaheawhe told that tea was a very
healthful stimulant and an admirable cure for drow-
siness. He followed the advice and took very much

to tea. In the meantime, he was establishing some
fundamental rules of tea-ceremony. Thus,he is cred-
ited with thé honor of being the originator of Japan-
ese tea-ceremony. He died in May of the second year
of Bunki(1502), at the age of eighty.

Shin Noami(Shun-o-sai), Geiami(Gakuso), Shin
Soami(Kangaku Sho-unsai) were connoisseurs to Yosh-
imasa and nwepete of his art collection, besides
attending to the tea-ceremony. Shin-So,otherwise
known ,So-ami, is the author of Kundaikwan Sayuki, a
very useful reference book of art. He was the son
of Geiami and grandson of Noami.

Nobunaga(Oda) died in June of the tenth year
of Tensho(1582), forty-nine years of age, and was
buried in Daitokuji,Murasakino.

Hideyoshi(Toyotomi), otherwise known as Taiko,
is a very notable character in Japanese History.
Born the son of a wretched farmer, he gradually
raised himself to the premiership of the country.

He was also a great general, and built the famous

castle of Osaka, the strongest fortress of hig days.

ont boxes we thers to xotoob & hos ced vob
“wer & nee at hat Biot aew rt tse saoivbe ”

dean ‘tev tout vee hers ert ews tot of “sdaente

enoe gaiioitdates aan oe senttaeen. at gt “yaad 08
-boto at ent, wnat “Momento -208 to cote tatsometist
-neqat to pee ay ont galed ‘to ‘sono add ation Wott
se8% ‘broves decutah to xe nt beLd ae ‘vglomeded.eod saa
| : 3 “ytbdato. to ae a es «(2042 Vestas ton
tse (cased) mated (hes osunfa Limgoit hse
-dg0¥ oF exeeatonnos o1ew (tease: oft seine snot a
aebieed sMorteet ioe ie aid Yo avsqead Diss seamt
oabwiosto oBaide " Yometeoeset ott ‘ot: ‘sailintta
| aan Ate be: ba tt 1 dan off aro

08 , a con ot

Set

III--7

In his life-time, he twice undertook to chastise Korea,
His first expedition was sent in the first year of Bun-
roku(1592) and his second one in the second year of
Keicho(1597). He was an ardent collector of arts and
a great patron of tea-ceremony, Soyeki Sen acting as
his tea-master and connoisseur. The beautiful Shura-
kujo Palace, a pride of the timeywas built by him. E+
ers By his cuPiene a eee people learned to appreciate
the arts,and various industries were brought into a
very prosperous peer var girsae ly ais ar ear cae

As everybody else in his days, Rikyu had several

other names, such as Yoshiro, Hosensai and Fushinsai.
This second great master in the history of tea-ceremony
was first a pupil of Dochin, then of Sho-o. He set all
the rules concerning the size and shape of various tea
utensils, which are called the Rikyu-gata(Rikyu style).
As the tea-master of the alh-important general and pre-

mier.Taikg his influence in the TMS aera the
time was peerless. Feudal lords and officials of var-
ious ranks and stations vyingly @srelled themselves as
his pupils. He died in February of the nineteenth year
of Tensho(1591), at the age of seventy-four. In Zen-
doctrine, to which the tea-ceremony owes a great deal
for its fundamental principles, purity and simplicity,

he was a pupil of priest Kokei, an intimate friend of his.

Sokyu, otherwise called Xoyusai ot Tenshin, was

_,80rTor ea2taate: ot ootsebas | oint o comid ote nak at
-and to 1808y text baa at taea een noitthegxe tent eth
to 128y broooe out mk anno beovea etd ‘baa ( $@8L aston

bag atte to roteelfoo, taobre 8, Baw oH af Wear Jono.Lex
as anites: mee jalezok sWromet90~set to aornteg aeons F3

<8 tde [vtttnsed edt tweagionson. bag, teteon-eet abd
a= mid ‘ya tiie capgouts at to ebixg 6 ,90gled otox

eas oF hentes! efaoed ‘eae sonog hat aid “ esr |

2 ott diguoxd. eraW eoittneiai eaoimay baeyatte ent
a
“ «(st roSnaitedis vf) 20 httbn0e anoreqnory Trev
| feveyen bad yabfi 2b. eid ai egie worgreve ek

tecutdan® bas lueaesol! orkteoY aa done women: todto -

Uronst99-eeF to erode ie od? mi: redesm teers baooeg aid?
{fe tee oH sor od to neat tito to Loar & tetit eew
_ Bet. ewoitey to quia. bas. esis edi yalotoonoe aelut eat

leryte oy adept ont BOLLa0 ots aoide ,alienoty

~etg bow anes tnedrognta Bie, én. ‘to. ‘xetaem-sod edt aA
mana” ae, at senqortos aid ee soi

III--8

was the founder of the Daitsuan of Honbu. Priest
Ko-getsu of Daitokuji was his son. He died in
the nineteenth year of Tensho(1591). He studied
Zen doctrines under Shungku-Kokushi.
Kobori Yenshu, of the Fujiwara clan, was call-
ed Sakuseke -while a boy. Masakazu, Kohoan, Tengo-
an, Daiyu Soho, were his other names. He was a
famous tea-master and the greatest connoisseur of
his time. He gave some artistic names to various
tea utensils, and immortalized them. He died mi
February of the fourth year of Shoho(1647), at the
age of sixty-nine. He studied Zen under Shun-oku,
and later under Taku~an and Ko-getsu. In tea-cere-
mony, he was a pupil of td Shire een whom he got
the one hundred rules of the ceremony.
Atogama is the name for wares made in Seto
after Tozaburo.
Kuniyaki, as was used about this time, implied
all the pottery made in any places except Seto.
Some better grades of them, such as the Shidoro
(Yenshu), Zensho(Ohmi), Asahi(Uji of Yamashiro),
Akahada(of PEt Eos Bungo), and Takatori(of
Chikuzen), were called "erami"(selected).
wegayaki is very similar in its make-up and quality tothe
Shigarakiyaki, which was made in a place a little over three
miles distant. Some few are wheel-made, yet most of them

are hand-moulded. The clay is white and coarse, though finer

| prs seniatoot ok

= Efae | sew “mero even tot ae 0, tenet |

\ en

aan ahs ive dy

ogee mao seaslaeett “tod e “obi oxipeaita be
peains enw Cs ak redto. and erex S08 mpked .me

tp tity

to twessionnos tasters 6 ont bes wottaansot § divers

sso tay of eines ‘oliabiae aoe | eves, a veal! aid

ot bets 6a. “mest ‘beni ledzomnt ‘baa setheneoe ooo |
ont te (9802 odarit to 190% seo ‘eds te queerdet | eae
srt mt soba 08, betbute om sentanyixts to ope

~e:e0-g08 at weteg-0% bs agua webew totar bas
08 a mote govt toda OX 9 to ase | 8 aan oH tart

Iif--9

than that of the Shigaraki. It is a little pebbly. The

old Iga, some of which are coated with the natural glaze,

seem to be more than one thousand years old, like the Imbe.

But the so-called Igano-yamazara, which were unearthed from
hills, look even older. It was not until about two hun-

dred years later that the use of the vitreous glazes was

first then ea ee azed in the (getaokoshi) style.
Another two hundred years had gone by before they began to

make some flower-vases 2nd a ne were made in

the same color and quality, as the older ones,,coated with

the vitreous glaze. These are now called the Kodea(ola Iga).
Most of them are hand-made. It seems the wheel was sometimes
brought into use, but the wares were always given some hand
touches, very much like the so-called Sho-o Shigaraki. Accord-
ing to,Chado-sentei(book of tea-ceremony), some Igayaki were
made by Shinjiro. The oldest specimens both of the Iga and
Shigaraki are invariably seme flower-vases or water-jars, and
it was not until the time of Rikyu that some tea-jars were
Being made. These tea-jars are glazed either in black or

in Biveode eolor, much like the Seto ware. They are ofamuch
finer-grained clay than the Shigaraki, and so their glazing has
more lustre than the latter. However, the Iga clay is not the
same as that of the Seto in color and quality, but is a little
coarser. some Iga of the better grade are made of ifted clay.
It was from about the time of Yenshu(Kobori) that the Iga and

Imbe manufacturers began to make some tea-bowls. The so-called

ocT .yldveg ef9ttf ep et 31 .txwuegid® edt to Yai? nedt
.exelg fertas edt dtin heteos exe. olay to onoe Ql bLo
.odwsI. odd ext 5f0 ateoy, basanods BRD. mer erom ed oF moog
~ grocct bedtiseny etew dotadw Stesenay- oneal beligo-ov esid tu
-aud owt tvods (itew ton sew bad .tebfo neve woof ,atfid
eaw eorsig asoortiy oxi? to sag sit tedd tetsl eresy Bex’
olyte ( ideovesteg) ont Py a gucacete sboonbortns terit
ov negod yee stoted yd enos bad amey herhasd owt 1tedi oma
al ebge exon saad?” “jexet~zoden Sanz esaev-Towolt deck tle
Atiw bedeent peas teblo edt 86 Ati Lewy bug Toloe. enwe edt
«(gal brolsabox att belles woo ete epet? | | S8ale. amoontiv tt
eomitonos egw Leodw ent ame 98 2 ie -obpin-buedt ete nents to teoM
baad emg nev ly ayewie exew gow edd to san ostil Piao |
-bi009A shistegine or ode. beligo-08 paid eit, dona: [tev gee
stow tiaysal eae «(none r92-803 *o. #00d )Lednoe-obetd, of ant
bas egI edt to ite anominons Jeebio. oat ots takde yd sham
foe rexel - sacaW ‘ro esagy-rowolt saree Aidaitever te tdetegide —

ezew atet-aed moe tet wales 89 ents Sits: Livan ton enw ti

_ ze doe fd ae ‘tedtie beteig etn a
dosmete 6x2 eat. setae ofeg eitt: ote 90m, ,s0f0@ eaoeuts mk
aed gaigglg tisdd o@ ba. , tes giae one neat nasil beeeniancte*?
edt ton ai. yato egt nepal :
oftdit Eanes ted we ‘BHD 18
wate. peitigt0 ote ~ ms Sene ettod (0 to as ono : _t0%09
pecan.

ae

TIT--10

Todo-Iga were probably made to the order and taste of
the lord Todo, when the province was made his manor.
Those that were made to the order of So-ze, brother of
Yenshu, are called the So-ze Iga.

The Igayaki was made at Marubashira, Ayanogori,
Iga, on the north-western frontier of the province,
very near Ohmi.

Getaokoshi. When a jar has been newly pre-
pared, it ee not hard enough to be very convenient-
ly handled, and so the potters of this period used to
press in two small pieces of wood to the bottom of
the soft ware to enable them to handle it without
any harm. Now, when the jar was baked, these
two pieces of wood left two pvarallel marks on the
bottom, just like the geta(wooden-clogs)~marks.
Hence the name getaokoshi(scraped up with wooden-
clogs). Later on, small strips of baked clay
were substituted for the wood.

Shinjiro is the name of a potter who lived
in Iga about the time of Rikyu.

The water-jar shown in Fig.1 is said to be
a oie, and looks to be more than five naa
years old. It is a hand-made piece and has some
spatula marks on the front, The clay is hard
and coarse, being somewhat pebbly, and has the reg-

ular earthen-ware color of a light shade. Its

- to staat bon, ‘xpi, iy of ea
Fosem ait sbem gaw: has
$0. xeddord tana He

x9B30. eld 02. ‘eheor e120, tus? onod?.
wi ou sagt e308 oat betiee ore imtemeY
is _bxoponeh wndianiray, te oben eaw idey at oat
A PRBLTOTG- PAS diptontnort ee ew steht: ont. 0 yogi: ie:
oa ae an, Ee Re Mein acta sstatiy 68x weOw,
ometq Bivona. Reed and nut 2 sea : | etdeodosited i
~tnetnevace yxev ed ot dgpoue cedeckacasangale ae
ot hess. borzeq. aide Ta: ayer tee oat. 38 bee. sbokbaas Ac
to modtod nt - OF boom to. B29 tq theme out ‘ot ‘neetg

ached bey oinaed of mouth efagare ot erew ites oat

quence or is nat ual pet: siete “Uke

rue

As pt ostiigge eter.

Iif--11

lustrous and sranstesgets coating is of a yellowish
vitreous glaze with some bluish and brownish streaks
of water glazes. Some peobles contained in the clay
have been melted while baking, and left so many trans-
lucent spots. The inside is not glazed at all. It

is a very "ckassic" looking piece. It is very heavy
for the size, and weighs seven hundred and twenty-
five momme(5 5/6 lbs.).

Fig. 2 shows the bottom of the same piece.

The wheel-made tea-jar of Fig. 3 seems to have
been made about the time of Rikyu. The dark yellow
clay, of which it is made,is very fine-grained and
hard. Its lustrous and translucent glazing is ofa
glucose color with some yellow streaks, and covers
the inside also. It is rather heavy and weighs
33.5 momme(a little less than 1/3 1b.) The shape

of this jar is called "nejinuki".

It must have been more than fourteen hundred years ago
that the earliest unglazed Shigaraki were being made. Then,
‘about three hundred years later,we find some wheel-made pieces,
some of which are covered with the natural glaze ve leokeas if
they were artificially glazed. These early specimens are made
of a white clay, gravelly and very hard, as hard as stone, and
are very heavy in weight. This clay is coarser than that of
iia Iga and usually inferior in quality, too. Shortly after

this, they learned to use the vitreous glaze there, just about

- dabwoster 's te at get S09 tie 5 Meo pre avoxtams #
atserte ebawoxd Sas. setsié smog ate onelg auoettiv.
velo ed? af bepieices weléieq emoe .eedely setew do.
-anett Pawan oe tiet bem. patted elise bod ron BOSE overt
tI sife as hebala tom @d ebiant ont. etoua, taser!
yvesd meV. ek tr ..eoeta gaistoot “ofeeato” qxev gat
2 Sheen igi “Bektend aaved aitgrow fete poke oie 20%
al et a\e aismmoa ov it
ie dinate: omee eat to mod tod. ont awode. B 298%...
eved of anpea & 4git to: seireet. pbeieLoasdtw: of?
woltey, ats} ott ssIGptEst to, emkt edt deeds ebem ened
bre RDA RATS viey at ebgu af ‘th Notiw 40 ,yeTlo
ato at aeisera. tooontensrd bag’ anostants ati | oe bhtad
eu. seagotta wot Ley enea. atte Adina wabeain
wreon edits’: at. at). oaks ablant edt
ed fe soa Ae alt salt eens ebttes 12 Von 6,88
thtont Lon Batteo. ed tet eidt to -

‘ ny 4 g Desens teenies. edt todd
| pe S88 Serhan. pout? tuods :

, | Whatostiaze axon yett |

m3, alo flaw 2 to

pw aE uveed vrev ote

IIIT--12

the same time as the Imbe potters did. But on account of the
coarseness of the clay, the glaze has not very much lustre-
Their specimens are of either getaokoshi(see note under Iga-
yaki) or sunaokoshi(see below), and of Sakagusuri(glazed up-
side down). It was some three hundred years more before
they made some vases and jars, either hand-made or partially
hand-made, but all with getaokoshi. They are coated witha
vitreous glaze, and are usually called the Sho-o Shigaraki.
According sat, Gawd abet da all the older specimens pieShi can:
raki are either flower-vases or water-jars and none of the
Shigaraki tea-jars are older than the time of Rikyu. Those
made by Shinjiro, which are marked with the letter Shin ($f )
looking like(H ), are the best. Tea-jars of this period,
either black or of glucose color, are very much like a Seto,
though made of a clay wile, a differnt color. They lack the
lustre of the Iga, but are very hard in quality. They feel
like a rough surface of a hard rock. For wares of the better
grade, the clay was sifted. Some jars in?dark-green glaze
made about the time of Rikyu look like a Korean piece, but
later products are mostly of an inferior quality, though they
were very popular. It was fromeabout the Horeki period(1751-
1763) that wares vari§gated with a cinnabar glaze were new
being made after the Chinese style. Of course, they make
some unglazed wares even now.

| Shigaraki is on the southern frontier of onmi, in

Kohga district.

Sakagusuri is the glaze running down from the

‘

“bkb exettoy pr : 20 enti» ome edt
| cortent piven sean : eo ’ ’ [ putas ont Ate bas to, oneal
~sal nob marron tes ; anitte to ete accom. nioog:
virgata 2 to | one atmo led: eon ooxonme dies
etotedt e108 aneot, oshasnt sortt enoe 2aw om d. Sadia ebia
yilaticac Eid ‘ebsnt~ boned ronthte vem. bee peasy ‘sine eben yedt

a dtiw beteos- one ont | shigoxoetes atin Cle tied. xohiem brews

~qy bexsalg live

.tiarssid2 o-ode Py a betfao yilesas: deed baw sensla asoortiy
sepiuiese: sromiooaa ‘tebLo sal tts _tetaoa-obatd, ot GALHTOOSA
ent to sion bre eret-xotow £0 Bedsy-rawOlt waditie ets sch
‘sa0dT anglit to emis: ont wild tebLo stevettat-sot blasegide
pp ratae wetted odt ddiw bextiem exe Hobe: Ove tmide ge eben |
bored mig to, exet-goT aed ond bite yt Mens eittstoo |
10d 08 & ower sua wer one. foie. spent + be) toate noid te. i
eid Sogt meat aioe" sasodte 2 dle yelo « to: obo 9 gsi
{ser Code «: ay - satifemy at Beet) wey, ora eed weak est ee extent
ane: edt to aetew “108 tea ‘baed £ Ho: sop tiara: Anuos * eter
exsig soong-tuattat onal emo bettie cad eto seit ebe13
ots. <eoskg aeer0% i a ob seein sai ebem
yest soegrttioon: 10, a : ‘

III--13

bottom of the ware, es it was baked upside down in
the furnace, like the kuchihagaAde(bare-mouthed) of
Seto.

Sunaokoshi is a piece,in the handling of which

while: still soft some sands were used to prevent it

Ch ae ALL.
from sticking and also to keep it in position It
literally means "propped up with sands".

Sho-o Shigasraki is a Shigaraki that was made to
the order and taste of Sho-o, the famous tea-master.

He was a descendant of Takeda Nobumitsu, and son of
Nobuhisa, and lived in Sakai, of Izumi. He called
himself by the several names of Takeda Inabanokami,
Ikkansai, and sometimes Daikokuan, as he lived next
Aeortte TRE temple of Yebisu, of Shijo, Kyoto. In
tea=ceremony,he was a pupil of Sochin and Sogo of
Gojo, er aes both famous tea-masters of the time.

He died in October of the first year of Yeiroku(1559
at the age of fifty-three , and was buried in Nanso-
ji Temple of Sakai.

The wheel-made jar shown in Fig. 4 is about five
hundred years old. It is made of a clay of the regular
earthenware color, very hard. It contains some pebbles,
which were melted by the heat into a vitreous matter. It
feels very rough, like a broken edge of a hard rock. The
brownish glaze with dark-green running down from the top
is a- natural glaze, which came out from the clay itself.

It is a very coarse looking piece and is a little cracked

on , c. i uF ie i

‘6 pg a tae a : tu ae, Poe se a =) \: i

Aohan 40. porns oat at yevehive ab:

cS *epned ks qm: see ‘eadee giineetas-.
ot sham. aew tarts, itieneg tae s ar oleae tae Or0de
“i steteum-aet avomat joa? . yosode 2a, iniecal bang: pabto dt:
> %0 mod baw wed euedO% shes? to. tnabascaeh em OH.
beligo of . .imeat to. heater. eb neted: hs. sokdndok
’ ,tnadonedent shoal te sens Lore evee edt wd Sheamtd s
tron fovit of ae, masctoktat | joint tenon ‘baa, ekeanastl
aE, s0tog% <obtdt to ,meddaY to. ska so a 7000:
Bo jogo®. haw mbdoo® el ttgre saan, ail erat oft anne >
wont cect Bo, srotoen-s08. seine aoe: soa vias
‘Baar atotiey- to ‘taoy, Heath “ad. “4 Toderpe ake pe 8
eer adie Bebtod me loa ovmiogitat, eal oat te:

TII--14

on one side. The bottom has the getaokoshi, and
is very beautiful. It is very heavy and weighs
: six hundred and forty-five momme(5 1/3 lbs.)
| Fig. 5 shows the bottom of the same piece. The
j getaokoshi is not very deep.
, The wheel-jar of Fig. 6 is about three hundred
‘a years old. It is made of a light yellow clay with

a slight suggestion of grey. The glazing is of chest-

: nut brown with very fine black spots, with the so-
; Galled pear-skin effect. eas a pale green spot
i around the neck. The glaze GP the inside is of
. chestnut color of little transparency. |

This piece.is made of a finely sifted clay and

: is very hard. The shape is absolutely Japanese, and

is called ryucha. It has a few pebbles around its

neck, which were meltédeinto little glittering spots.

Along the bulging middle, it has the yamamichi(M6unt-

4 ain paths)—designs, This beautiful make-up is some-
times found in much older wares. It is heavy and
weighs 40.2 momme( a trifle over 1/3 1b.)

i The wheel-made tea-bowl of Fig. 7 is about two

- hundred and thirty years old. Both its clay and

| elaze are of the earthenware color, but the latter

has.some reddish and whitish spots. The former is

fine-grained and very hard. This elegant shape, one

of the favorite shapes of Kobori Yenshu, is called

NAPs

+ yeat J aye a komm oviteyisot fae bowbam zip

edt. .990ty one one te modtod halt awose ry agtt

ss ead faite eal / sa08B, rev tom at bdaodoaten |

‘ twede at 2 .gi% 20 tel-Llecmy of?
Bien - Sabai &, to, ebioa ai at DLO. aneey

-taese, fo et "grainy: oat, avers to. soltseqgns. higgt te &

rae set aie, ee ~~ Ed eit grey. aie oytord tua
tee mets, eLag, i stoovte. abke “seq fotiao
te, Jk, sbient eis e ence, SGP aapart eae buvots
; bois pds Togotsqamua? isthe to sades. same s9:0-
“gate “bostip gloat, a to: pbwm at meee, eis

| omega wiestoadd ¢t oan eat | abaad grey “
att aes sora: saa = fed. a ato agin at ts

ITI--15

kirikata. The bottom is only slightly glazed. It is
a heavy piece and weighs 67 momme( a little over 1/2 1h.)
The hand-moulded jar of Fig. 8 was made about six-
ty years ago. It is made of a clay of the earthenware
color and ofavery hard quality. The glaze is mostly
of chestnut color, but it has some red, green and black
spots. The red, which is very heavily laid, is the cinn-
ebar glaze of Chinese style, only of poor quality. The
inside is also coated with an opaque glaze. It is heavy
and weighs 51 momme(a little over 5/12 1b.) The shape
of this piece is called "mikoto". it is marked Tokuzan
(# } on the bottom, and was made by a priest of that name,
who was an enthusiast of tea-geremony and an admirer of the
shigaraki ware. He lived in Daikwanoiji temple, of Koma-

' gome, Tokyo, and died in the eighth year of Tempo(1837).

According to book records, the unglazed Tanbayaki date back

~to about fourteen hundred years ago. Of course, they were

only hand-moulded jars, made of a reddish clay, very much like

that of the Imbeyaki. Like all other primitive wares, they were
baked in a smouldering fire, and so they are dark blue on the out-
side, in spite of the reddish color of the clay, showing the effect
of the smoke. It was not until about three hundred years after
this that some wheel-made and well-baked works were being turned
out. They ers hard, heavy, and coarse, and covered with the nat-
ural glaze.

Some three hundred years more, and they were making some jars,

ite ee ae

et ti» .bomady qldagiie ~ino eb mottod od oa stetisix
(dr S\i seve ehttEE ie ‘oruvom ¥3 edgier bes eoaig qveed aes
-xte tuode efat het spit towel bebivom-Bnad ad?
etamneddre9 ‘eat to gato a to eben at 31: ..0ga,cteey UW
Utaos at eapie ott. 14d Li asp btad yrewto base. t9foo
toald bra neste Y het. omos ‘ged 34 dad: ‘toloo f tustesde to
Fane edt et biel ulivaed yrsval. dotsw 4, hat ott ratods |
ed? ..¢tilase <00q to, piag ,ettts saentdd to etuls tade
7 yveed af ti “esata empeqo me dadiw heteoe oeig af ebiant
eqacts od? : t.¢f. arké to¥o ofttil w)onmom (8 sdgiew bas,
Seago box at $I «ododsa belles et gee tq: aid? to
, ented saat to tesiztq 2. ve. bom oar “bre Gera : at? no ( r*
edi to 16timbe ns be ome xe8-s 0 *o Pea tasddne a6 Baw ontw.
“8a0K to efqnet £( Lomemi ted ‘gk bevil of eter ‘Pteregiae
(188 E}ogz6" to THOy: ae, ett ei Beale fins ih Smog. a

“doad ateh paeneasd bons 55a ae: sabra0e% Hood —s Sathcoonk |
eter yods yeaxtoo tO .988) emuey hoxbari nostro. tHode of

agit fos, rev wie derhher a, ‘to: ebum etek heb Iuom-bacd xine |
otow qed? ,aetew ovitiniag yodto\ Che pili. .talageda eff to tedt '
~tyo ed? ao ould: rah ete: ents 98 haw, eust gatrabivoad e at Sedad
testte edt en bends | veete iad to. solos anes sae to. otha eh obfa !
retts axeoy, bexband sone? ttode Stine Yoana $7 exoge oct Yo |
Soitud gated ere eatin. bss nee etbarteene amos fads eldt |
~ten edt ati borevoe bax) onagos has greed oe

4 ae ‘

TIT--16

possibly intended for keeping some seeds in. These jars

were made ofadark brown clay, “Covered with a lustrous water-
glaze. They had the getaokoshi or sometimes sunaokoshi mark-
ed on the bottom. They are now called Ko-Tanba(old Tanba),
though they ought rather to be called "Chuko-Tanba(middle-old
Tanba), as the peal Ko-Tanba were made in the days of Taiko-
Hideyoshi according to the Chado-Sentei. These jars were
called Ko-Panba simply because they were the oldest Tanba in
the line of tea-jars. Anyway, the Tanba of this period is

made of a violet clay,very finely sifted, and coated with either
a lustrous black or dark brown glaze, much like that of a Seto.
The ware itself is very hard, but the glaze has more of the
hard looking appearance. The name of the first maker was Kich-
120. Naosaku, a very famous potter of the early Tenpo period
(1830-1843), used to make some very black wares. Tea-jars of
the present period are usually glazed in white, brown or erey,
though some are not glazed at all.

The Tanbayaki was being made at Onohara about the per-
iod of Kwanei (1624-1643), Bee the furnaces were moved to
Tachikuyi about Kwanbun (1668-1672). Both these places
are on the south-western frontier of the province Tanba.

Besides this, there are made Tatemakursyaki ware and
Kubotoyaki in Tanba. The latter was being made at Kuchi-
Ski about Kwanei period (1624-1463), but was discontinued
sometime later.

The tea-jar of Fig. 9 is about two hundred years

old. This wheel-made piece is made of a violet clay

7 ela

* erent descane

ret, keer abe o on taser aie bobaetat Utieaod |
~retaw aon acl 8 ashe, a. oben 5
~H%o ideodognue eonitemos. to ideudgntea. ont bed wed? setele:
(adnet bfo )sdne?-o3 bettso wom ome yon? wopted ei? a0 be
Blo~eLbbim)edneT- oud" belies cs on redder iige0, outs deaoslt
-oxtst to ayes pad at eben oT08, sidnat-o%. Laem. otk ‘ag (adie?
STOW, arse scent? 4 stggmet-obadd, og ot, ggtbi0098 biscovebse
at sdnet teeblo. edi, oxow peat sesiaged: “tgmie sdmatzex beffse

al boiteg wit? to edie” et sYewgad sa%ai-208 to eat: odd

todtte. dtiw betsos bus bedtis ylentt. pevitete. torory ; to éhsm- a
20790 8 to. edt eait: HO HMM, sets nword isah 70. mnt ayontant 8 |
ait to. ero Bad enelg, edi. ‘tod ,btad 29 er tieesi: omen, anit
-foid aew. xoApat tozit eat 26 onset owt -aasatseqse satdoo. pred
boiteq eqnet xii. ‘ont to. wetter errougt ee a nidaomt, gp PR
to atel-ee ote doaid wey emtan . oem of Sear fgynt-086.)

OR 10. amor, antaee a ‘Denes, vi fa
Ee ae “ite te b ‘

8 Soiseq. dupeesy edt
ere heat at ae tos ota. ‘ane. ganoss.
de! edd. pen gredon0, ts. eee ato
ot ‘teres ers sues po }

III--17

and is coated in a medium thickness with a lustrous
translucent glaze of glugose color, with a tint of
chestnut brown and dark green. The inside is not
glazed at all. The quality is very hard and the
texture is not very fine. It weighs 33.5 momme( a
little over 1/4 1b. ) The shape of this jar is what
is called "kuhinaga”"mimitsuki"( long-necked and eared. )
Fig 10 shows a wheel-made tea-jar, about one hun-
dred years ofd. It is made of a hard and fine-grained
clay of chestnut brown, --seme dark and liekt bite spots
of Streamine steses. The coating is ofadark brown glaze
ending in black near the bottom, with a nale blue streak.
Though nan ee ey cee it is lustrous and rather heav-
ily laid. The inside is bare. It is heavy for the
size, and weighs 38.5 momme( a little less than 1/3 1b.)
The shape is what we call hirokuchi mimitsuki? wide-

mouthed and eared.

In Karatsu, some unglazed wares,some of MOLE unc
so well that they wore covered with the natural glaze, were
being made from more than one thousand years ago. The pot-
ter's wheel was in use at that time. About two hundred years
later, we find some water-glazed pieces made of a dark blue

clay. It was not very long after this that some Yorean arti-

Sans came there, and made those we call: Oku-korai. The Chado-

Sentei interprets the word "oku" as meaning "way in(Korea)",

to bait a thee ro809- noe tg To ese ft: Be

tonal ebteat ats 0am: apni ies tunteedo. ee

edd bas. brad prev et. st bie oot : able te beseta

a )encion 5,88" eiatow. at ont ser tom ab oustaed ea

teitw ek tat eidt te enatia eat bed, or TOO, otttet. ee

a betes bus: bekoon-gnor. rsa? tm agentes” b8Lfe0 et.
opine 920 toda ta) 29? ober foeie a iia at: att

bentetg-ext? bas bared 2 to eden at ag. «bio eTs08% both

ateqa omit teh, Spo sie ones ~ ad domtaass to yero ; ea

easly mwoxd Hrabsto, ek: ‘gakteoo a aonets, gebcats So. .

- deette ont eles a dtaw, ottod. safe naoe. doe la a gat ome ~

grea Lenent don dgeod?

echt 10% vee all wT ie eed ab obiaal od? jehbel tk

(dt 8\t Beney gat ‘ofttat 2. ee, 8,88 erigter, Bae. sente

wehbe mepin tapetortd oak cs vet | ah ‘eqeta of?

Fad cnicter. bie erowwent me cig

LIIT--18

but I think "“oku™ should be understood in its figurative
sense meaning “way off in: time". Then Oku-Korai meanine
old Korai or Korean, and referring to the time when Korai
was not yet ineluéed in Chosen, with the other two divi-
sions,Shinra and Hudara; which coercion took place just
four hundred years ago. Anyway, the Oku-korai is very
much like a Korean ware, except,there is a slight differ-
ence in clay and glaze. it was from re ote that the
native potters of Wend learned to make some Korean
style. mostly in the form of big bowls, whioh were called
“kome-hakari" ( rice measure), as they were so intended.
Both the clay and the glaze are of a brownish grey, though
the latter sometimes had a bluish tint and a unusually
bicep t bee Even the bottoms are glazed. They are not
very hard in quality and rather medium in weight. AS
both the Oku-korai and the Kome-hakari were baked piled up
one over another(called kasane-yaki), they have three
eyé-shaped marks in the inside, where they were in con-
tact with the next one. Those having only small eyes
are called“Kome” (small eyed), and those without any eye
marks are called Ko-Karatsu(old Karatsu). Some of
them having very Simple designs painted on them either
in black or in dark brown, are called Ye-Garatsu(paint-
ed Karatsu). Some Ko-Garatsu are kuchihage(bare mouthed)
or sakagusuri(glazed upside down), uF course of ie:

those Karatsu potters also made some progress in their

ovitenmait : att. at oot esata a. ane + telat oe ans”

oeineon heros edt om “omtt ont : Ye | 4 ba an

ketoX ‘moat ontt eat ot qelrtelex bee sa At
-tvtb owt odio. et aitew ee as pot asia ty Yon aw
art eoety taod nolets0s, Hotdm jerobut baw avaks

qtev at teroat—n0: bat verge : 098 ersey berbosd wot

kl

-tettis- taigite 2 at eredt.tqoons otew Baasak * oat desiar :

edt tant emt “ahi ‘moth: eae ee : persis, Sos. wie el sone

mato emog ein of bonteo! vutered to. mente x oviten

belies e19w doinw awd aid 0 axe oat ‘gh phaaom, otute

| sbebustal on orw we Mat forgiom 24, L “Pushed ~ enon”
asonty tore Ag tmxosd & to ete dae t bas -wle ond ates 3 4
ei Lawes als bine tate ats, 7: Baa cme Shas :
ton om yet pbesats one ‘gnottog edt apy sepottenl :

ee ah. | digtow at sito t Xodten ane aiteny, rv ‘Bred er

| 4. serie boxes oreW at Bae ene ont Atos

sonst? ovat crea

ae eens. Sans

aie onrae: Gane rane

III--19

industry and were able to produce something much like a
Seto ware. According to,Chado-sentei, such works were
called Seto-Garatsu. The so-called Horidashi(dug-out l=
Karatsu includes some very oldgpieces and some fairly new
ones. Some of the older ones(unglazed) seem to-be more
than a Ghee saa years old. These dug-out specimens are
made of a white clay,hard oa fine-grained, and are coat-
ed with a greenish grey glaze. The so-called Karatsu
was made about the time of Kobori Yenshu. No tea-jars
are found among the Ko-Garatsu(old Karatsu), as they were
making only bowls in the Ko-Garatsu period. some, pieces
are called“Chosen Karatsd(Korean Karatsu), but this name
includes two different kinds. One is a real Korean ware
having a resemblance to the Karatsu, while the other is a
Karatsu resembling the Korean. The former is hard and
heavy, but the latter is rather light in weight and not
very solid in texture. This latter sort seems to have
been made about the time of Hideyoshi's Korean conquest,
by the Korean workmen, brought over with him. Itss glaze
ing is i lustrous chestnut brown with some streaks and is
a little different from that of the earlier ware.

The Kenjo-Karatsu(presentation Karatsu) are.of a little
later period. nimeance made of a hard and fine-grained
clay of chestnut brown and are coated with a leaden-grey
glaze. They look something like the Mitsutsutade of Yashi-
ro, but lack the exquisiteness of the latter.

Karatsu is in Matsu-ura district of Hizen,

8 oft? fom gabidonoe sontomy ae othe. enon ut stent
_ eter ado oma. Hetuon-obaddyod BAKBxGD0A

“(tvo-gub) teed ixon bet iee-od oat , satossd-o80 | Saxtes
wen vizist once shire aoaeties fo yer “emoe | dobufoat setarex

stom edvot- niege takatona tang xebLo ed? to ‘asso8 aneee
ets enomiosqe to-gub ead? Lo ateny bagenods s. aedd
-t200 sts baw Dontery-ontt Sas brady té {2 atta: ® %o baat 4
netets% beffeo-os: ont. esata wera debeesrs 4 “Wet bw be.
| arat-n08 om -wulaneY Hoda to em ie st trode shan aaw
erew yout as A watered bLo)watered-o% edd autos ‘Bawot. ors |
avcelg, were pokreq satered- ol oat. nt atwod eho antism
patina akat dud {wetare® sqoroi vatene% wenodd* beffso "8
otew-agoter fees * at on0 Apbans: tuowett ie owt aobsloat
s al rerfto edt oti, watetex edt" ot somefimoaes B gelved p
bug brad at rontot ae - aaot0t edt ast idmaaet sedated
tog. one tigtow ane: telat soitan, tid vette. oat tad “wweed |
ever ‘ot amees Pr08 nedder, oo eS? ne bilo yrey
teonpaos ag0so% e* kdeowesE® to. oma adh dyed eSaat need.
; Atala seat os eb ibe eyo: Fees std yeowtror hes
ak fa axeoxta eno aie perora a

ee toiisee ade ty d taae seek
‘oredes s Yo. ora, eee oe

III--20

The Oku-Korai was made some one hundred years
previous to the time of the first Toshiro.

. The Horidashi-Karatsu were unearthed about
Bunkwa period(1804-1817).

The Kenjo-Karatsu are those that were present-
ed by the feudal lord esl Karatsu to the Shogunate,
a0 Hay ene, of ne ee ine quality.

The wheel-made jar called ‘furidashita shaker)
shown in, Pig. dl is about seven hundred years old,
exit is made of a bluish dark clay, hard and fine-
Bai cas | The glaze is a dull leaden-grey except
on top, where it is sola It is probably a water-
glaze axed he rather lightly laid, and looks exact-
ly lixe that of the so-called Horidashi Karatsu(dug-
out). In quality this piece on Lee roe to the
Seiji piece shown in Fig. 12 of Vol. II.

After. all, ait mst have been made a the Nara
periad method and glazed in the Korean style. It.
resembles. very much the old Korean. It weighs 28:
momme( a little less than 1/4 1b).

This piece was made for a spice-shaker, but
afterward used for & powdered-tea Shaker.
The wheel-made bowl of Pig.12 is a specimen of (i

( oA.)
Bia he tas about six hundred years old. It is made

of a clay of the earthenware color ofebrownish shade,

and is thinly coated with a leaden-grey glaze(evident-

ly a water-glaze), rather dull and opaque. Tt) dee

e or) ‘ *
* i gt ‘ an
- é 4 5 me
wihs 4 o g
j A ’

g

STB OB orchard 08. enon ‘uae new bero-e0, edt | J
semeiae dput ond to ste. ext ot everest
csi hedtaneng omen wate ts island x08 edt
aero eo ak ‘sf 3L0 GABE) Sota enehoantl.
oT NOBeTg . oxew teed - seo oe vatetel-ofmex, eit |
i OGRE opis. ot aedecet *6 btol Tebsee3. edt yd be
| 49 Comp ent graeme,
ult aTideabswt" belfac: tet ebain~Loost edt.
bio: 2'089% heshnad weves tuode ef £6 ert mk mwode.
oenkt Ine rte wat. dash delwtd¢ Yo éhsn at Me
tqsoxe yeng-nobael. Sigs £ ek onelg ont rhontetg |
~retew a4 dado, at ai. toe id a4 ft xed 708 ao
: ‘~doexe extooL bag. bial eiddgt! ster es baie exsla
gb ua dexes idea. bx08. heLllao-oa odd to tad? extl the
ent of uelimie ere, af soele eid? ytiienp. al 3 lene
aa 10¥ te Bt Bit me crete sovig fh tee
| stat os Sauce evade euge a ble. weota oe
ae -efgie: agono% oo, ar hesetg bre Bordon boireq -

is neigton.9 a eos 9 odd cai me | eeidaeset

IIiI--21

rather coarse and sandy in texture, and medium both
in hardness and weight. It measures 105 momme( a
little over 5/6 1b.) | The quality of the clay and
glazing is much like a Korean piece.

The wheel-made shaker of Fig. 13 is about: five-
hundred years old, and is made of a greyish white clay.
Its opecre glazing eggs grey and of medium lustre
and thickness, It is hard and fine-grained and is a
“little different from the average ones. Very prob-
ably it is made of a native clay and Korean glaze. It
weighs 30 nioimetish 4 by)

The wheel-made Katakuchi (side mouthed) bowl of
Fig. 14 is also about five hundred years old. It is
made of a chestnut brown clay and is coated with an
Opaque and fairly lustrous glaze of leaden-grey color
of medium thickness. But the design is in black.
Its quality is hard, but its texture is not. very
smooth. It weighs 245 momme( about 2 lbs.) and is
rather heavy for the size. Its: mouth is bare of

4 PAM
glazing md + wesy oth 4 rebenbles a Korean work.

I had se idea that the first Shidoroyaki was made about one
thousand years ago, but recently a ruined old furnace was exca-
vated at Shidoro, the make-up of which and the fragments of pott-
ery it contained, show that they He much of an earlier date. The
pottery has a resemblance to the so-called Gyoki-jars, and is about

the same as the old Iga or Shigaraki, except that the clay is a

ited: meee pie Jwcntnes sal ‘pba ‘hie 98E600 ‘tefdet °
s emma, aor ‘aeqasen" i te 7 a file We obbced” at |
hae yets eit ‘to witcasg ont C0 88 sove erts1e
ooekg asetot e eft! some at eaisets
~e¥ititsods eb ai git 26 Tatura eben Feedw ont |
stato’ od tw ‘Hales a 1 éhed al bag “blo. arset betiamd a
ett ant nechbieds te pas OtB iabonite at aniiels: sepero ‘Bat ia
e ef ine bontevi-ontt be ‘bred ‘a tI “;8eendtetay ine
~fort ex8F +nOLo dneveve oft novt dnoret? 16 SEIT ET
ai nears oe dtot Baa tuts oviten & Yo eham el +f urds
hee B\£ emarom om edgtow
to fwad ! eis wie obte) idoniste® shaat-Lesdw edt
at ot ‘sblo wieey boxtbaied evit duods eels at Be bape ;
figs it tw Beteod af ne yelo-mwotd tantesdo 6 to sham -
; Lid Tet ~mehael “Te: eoaly evottest tiated. hae eupadd
Monte ek at og tacth ome. sala : cap ontotitd. iter 6 on to
gter sour" et eawfxed eat ‘bne: Daed "ee Yatton adi
od daw (ets tems, Yeinto aps Atigtew a .atcome

to exad ef Aiteomiaet: josie on got yest tedter
ron nsetoN e palbmedes e spe wn At hee ees

at E se ‘ooh daily webb ae Sad T
Supe ead eas: gree bngewodtt!
-tiog to4 feomgext add “bae: doxt 9 a sida ost Cron ide te betav >
eiT 00 eh: on imate — s s gone tend woe Bontetaos tt ¢re. |
beats ra bas. verte oe SLAC RE Lae oe PRO RE Se eb a a ee ear

IIi--22

little pinkish. The so-called KosShidoro, (old Shidoro),

is usually in a dark brown glaze and is very old. It was

from the time of Kobori Yenshu, that some tea-jars were being
made there. These jars are made of a brown clay, and are
coated with either a yellowish or sometimes reddish brown.
glaze. They must have been baked in a way peculiar to the
place Heth ancient times. Anyway, they have characteristics

of their own, and do not seem to have been baked in the Seto
style. They are coated with water-glazes of yellow and |
black of various shades. The baking shield used in Shidoro
was a little different from that of other places. It was

just like a pail with small holes on the side and was used with
its open side down, while those in other places were holeless
and were pete the furnace with their open ends upward, cover-
ed with Seo Those that were eee the days of Yenshu
do not have any marks on them, but news made about fifty years
after are stamped Shi-do-ro( ¥ ).

Shidoro is in the province of Yenshu, about five or six
miles up along the river from Kanaya.

The wheel-made tea-jar of Fig. 15 is about two hundred
years old, We is made of a brown clay, though it has a redd-..
ish tint on the outside. The under-glaze is Opaque ane
rusty black, but the over-glaze is pale ereen and trans-
lucent, lightly laid. its, inside is not glazed at all.
The quality is about medium ,but the Ver uies is not very
smooth, though compact. The weight is also medium and

is 43.3 monne( a little over 1/4 lb.) It tay dake sa

$8--IiT | Bee
ee rod Le, et eae \ J rs :
tyore” a he a :

(oxobine fifo) lorobEdBsON beflev-od ed? — .dedinty oft? 11 |

aaw tT. sbfo. ioer st. pas bao ly anoxd Wisb¢ ab wi fuses at: i

_ gated ete. axeteaed aoe tad? sdenet brodok te" ont: eat sort

ets Kies Use frrowd os to sbam orn etek esodt voredtt Shem . :

mword dalhbest amit ence ‘to de imol ley # seddte ad iw betsoo |

Ot: of tsifseeq. ‘sw ‘ep pl boxted need ovat tone yor? leaste |

aotdatrotoaredio ered: yeatit cowena, sbened tne fons aoa seala a

vg, QUSE edt ot beded aged eyed st nese 26m ob: base jawo tlostt to, |

"bas “wolfoy to eamels-xetew tin beteoo ote qouT verge |

oxob ide tk heay bfeisa gi tved eaT ,eebade esoltsy: to-soatd |

* 8a : i Get asset “redo “to dade. mort Saorethie Sitttt we ns

itiw bees ssw Sse). ebia: edt. ‘HO eeLor. ‘Efeme stiw Tleq Ss sitl tenf

aaelefod siow sevalg tedto at eaons eitdw. ~cwob: ‘ohio HOGO ett ;

~tsvoo _bawesi ebro: “ree ‘tied? itiw esxatst oat ia heated oxew das q

seamed | +o aye dl at obain exw dent ecoxk? “sabLt Geqo atiw be |

BtBSy ca duods eben’ epods tad yg £0. axtam Ys oved ton ob.

| ye eel yer eee oie .. ‘F Yen~ob- baie boqaisde (ote reds .
aie 0. ac) Tae valent 20 eoatvortg sgt akoat onob Ede

oe. eats 208 tae sores ont aan qt setts

\:

ebb Ox a eed TE Hamre. Faculte
fal ‘orpaqo ak ancien wat _wabietso ode RO. take dat *

wamend ine a oleae < ok ane tanera a -— tos need eiays2

; Bes

Sige a,

IiI--23

fisherman's bait-basket in shape, quite usual in Jap-

anese wares. Around the neck,it has two chrysanthe+:

mum patterns and three crosses, each arm of which is

a diamond. |

The wheel-made jar of Fig. 16 is about one hunds

red and fifty ane old and is made of a yellowish brown

Sves: The glazing is opaque smd brown with the so-

Galled pear-skin spots, except around the shoulder,

where it is very black and translucent. The inside

is not alate at all. It is compact in texture, but

rather medium in hardness and weight. It weighs 29

momme(about 1/4 1b.) It is marked Shi-do-ro.

It is not known when the Zenshoyaki wee ane made. But in
the province of Ohmi, some sort of unglazed vottery was being
made as early as nineteen hundred years ago, in the neighborhood
of Kagamiyama; and then, on account of the facilities of getting
the clay, at Shigaraki. Zensho is situated on the highway from
the west and so perhaps the ceramic industry might have been going
on there about Die game time. fer Skee the Satins must have
been in a prosperous condition when Kobori Yenshu had some tea-jars
made there, Thu Chedo-sentei Says the Zensho-yaki were being made

ia the days of Kobori Yenshu, who had many tea-jars made there to
“eS order; but earlier than the time of Sotan( 2 Mes They are
Yare now.......These Fara eet are made of aigreyish white clay

and glazed in brewn Like Shunkeiware of Seto, or a Takotori. But

in their general appearance they are more like a Khotoyaki. They

=qetb of fenac ott p eakie | a ‘Yoxead-tted a! menue
Eo earintch doa ow ‘eer ef; Moon edt Basioth | “Rete seers
et doiitw to arte ive ‘aiievo30 oot? one ancedten aust
RUGS ee Rina Seizes. . -baémsib s
Sabubd ono. gies aie pie or ate to at ‘sam Coste edt
aeerd istwolfey 8 %o oben al ba8. bio erBey ‘gatet bua box
* Loe? ont at by word bree’ expato af Bitisely sat eer
rebivone eit ‘pasos tqooxs etoas ninte-teeq Refiso
ebiant ent. - daaetanert bane tostd yiev et ti eteiw |
tid extixet nt tosqmod et $I «iis ts beaety ‘tor st ee
CS adgtow 1 itdgiow bas aueibian al mothes xedter, oe
.0T-0b- 182 Bexttem Bt + “(lat Bf toda emmon”

*

tee dyed Cena pace? es blavodenes eitt aie wont, tom el a1 |
‘gated aev yrsitor bosalgae Yo anos eno , hosel to vomtvorg etd
pooitzoditgten att ‘at 038 ‘eheey hovbamd Rbatonkn ae eltes a8 obi |
gniites to Serstttoay, jd To tao908 KO” = bes vena ginega® 20 |
mort | yewdg it aa ay beddntie ay otanos” stiteragide te tele ont
grios meed. ovat tigtm wees

bok olme'tes ‘edt ‘agate oa ‘Bess ‘teow eat
eve taom yrfanbat oa wars Aa ene etd fucds exont no
mutans eno Bed sitenet “Enodot wed r,a0LdLbn0® esotoqaons a at, weed

nite ay‘

come’ whist aromas ‘sonodtd eben

IiIl--24

are Bianca, but rather light in weight. After all, the
Zensho-yaki certain characteristics of their own, but their
manufacture was discontinued in,a generation. The Setayaki,

which was made at Seta, very near Zensho, may be a continuation
of the Zenshoyaki. It is only of a retentcdaté that the indus-

try was resumed in Zensho.

Zensho is in Shiga distrist of Ohmi, a little less than
twenty miles from Shigaraki along the hills, and some fifteen
miles from Kagamiyama. The distance between the two latter
places is about thirteen miles.

The wheel-made tea-jarvof Fig. 17 was perhaps made to the

order and taste of Yenshu. It is made of a greyish: white
clay and slightly coated with a lustrous opaque glaze of
light chestnut color. The inside is also glazed. It is
fine-grained, but not very hard or heavy. It weighs 32

momme( a trifle over 1/4 1b.)

"Emperor Yuryaki', says the Nihon-Shoki, " ordered! his
utes Yamnachane
pottersin March of the seventeenth year of his reign(473 A.D.)

to make some table-sets for his use s% Uehimeras << e
Asahiyaki is nothing but a continuation of the Pune aiete.
The ancient preducts were ,of course unglazed wares. Later on,
in the days of Yenshu, some tea-jars were made there to the
order and taste of this great enthusiast. They ce. made of

a clay of the earthenware color coated with a lustreless water-

glaze of the same color. Sometimes the glazing was of bluish

grey, running down in irregular streaks, The quality is soft and

edt [fa tettA tdatow nF tight Sbated bod bontetg-entt ere
tied? td” me 2iard Yo: sisstietaasets aletxoo on tey-ortenes |
-tisyete’ eT ‘a0 1b m0 beimitacsuth Ew ote oe tiinem |
noltemnttaoo # ad ‘tem. oteces teen ror ete. te obem saw dotdw
-gubst edt tadt stobseneenp! ato vind at $2 f * Hleyottere3 | edt to
. ‘chat alae odenes at benseet aaw Rt
nett gael alti ti 280 te niga egine ai et onene’ |
meattit eaas bnew atria, attd Snofe iitetaa ine mort selin qinerd
tefdel owt. eae isowted eonedals ont * -etie¢inegen mort aeliw
| ‘2 yotie geadetd oraek ek soos -
eat of eben aqeiteq esaw es sgh to 1st-set Shane tesite ‘ott?
ebtdw ddayerg & to obhar e131 scemeY ‘to stead bie «9610
to saela expage avoxtent at tw Ssteoo tidus Le bas ywlo |
al #1 jbenats oele af rasp: ‘ett? ~.x0fos fuateedo tdall
‘$8 edsaite tT - si Mees: te bred tay toa ford beaters-entt si
i ~ dt a\r 180 State « Yemen

etd ‘Beted ro " datos nod eit? eyes hte? TOT!
Ui Evy Jrgisx wie ty they dinvetnerss od? to. dove oi pated ion |
Y 38 semtded te, eae ald 10% ette-efded omos exam ot
| sete cera tog ‘orf Yo ao itenatimos St. gatdton wt toleyideen |
Fo stro oo. bette beaw lant os3000 %8, ovew afoubosy taotone. ‘ad? |

a expt eae! eo oat cet = anfen to Bed. ant em
es "Ee i mn ioe ie Wee .
Ye bam ah ae ee 3 hi to oteat bas teh1s

eee ocala e ay a nat me ot to. yero Fs
f an ony bun ie

a ooo) ae
| “tetotd to aay i ai rents | oo st As -
Wasp. u's t xe rts ‘Tal cE Y 1” y, TT:
” chid eis: ra Pa ke oe a er pf
ia jae ae mee | Rehas |

| al ae
io '

‘ te i. 7
i wr ee ih

Iiil--25

| and cdgrse-grained, like a Karatsu ware, and very ligt .
in weight. They are marked with a stamp reading “Asa-
hi”. written by Gonjuro Masatada, who lived about the
periods Kwanyei and Kwanbun(1624-1674). The mark is
sometimes enclosed in a round-cornered square, but in
some specimens, only a vlum-blossom mark is substitu-
tea for the stamp. The maker's name was Tasuke, who
had quite an originality of his own, but he had no
successor and so his art was discontinued after him.
The characters Asa-hi’ on modern wares were written by
Gonjuro Masayasu in the third year of Meiji(1870).
Asa-hi is in Tsuzki district of Yamashiro,
near Uji, to the west of Mount Asa-hi. Hence
the name of the ware.
It is about thirtéen miles to Zensho, and
fifteen miles to Shigaraki, from Uji.
The wheei-made tea-bowl of Fig. 18 was
made to the order and taste of Yenshu, after
his style. It is made of a Glay of the earth-
enware color, and is covered with a glaze of the
same color, only slightly bluish. An over-glaze
of brown runs down in an irregular shape, ending

in white streaks. The bottom i8& also glazed.
The quality is soft and fragile and not very

fine-grained. It is light and weighs 90 momme

-

| Se
ey ; i ;
, Otig Es etev Dow {enw tetsX # -0xEE Denterg-eaxgio one te

sed” gn iheor gata e a Hittw: featuem exe gett . » titgtew aR |

edt dtuode pevil onlw: ebateaait orrtrod ae metdixuwe Sit
at xuem eft! (80K 288.0) amino bite’ loynawl dotreq
Si ted /eseupa: Bimeenerod~ bao a bencrony: aemit ono

~stitedge at rem moaeotd-eurta, yfno aremboogs. eomog |

-ofw ,ouveeT ecw smea e'xedem onT <qmete acid tot bet
| Ont bed: od atid swe aid to qtiLanteito oe ‘edinp bed
5 pet. reds piaisheaeaihth gaw fxs eid 20: baw wonaeooue
yd nedtinw etew a0tew wrebom 10: ‘tdesea” avetoptedo ett
é Over epee ee se6y bubid ant st phoehualt: oxime)
,Ombdemey. to doistelh ixeweT at at: tdoneh. paket
- gone, cant: dnwort * oROw. edt ad a: neer
3 “ ve ee eee es a ss Bee ew Ae eter ott ed Nids ott
baw Sone reeusteiie was
a — etEU mot dateeas ee sotimneettat
gow BL an te Wod-s0d "b

ae

1

III--26
(3/4 lb.) It is marked Asa-hi.
It is not known how early the Akahadayaki was first made,

but it is quite probable that it was being made in a very

early period like other Yamashiro vottery, some of which date

back as early as twenty-five hundred years ago. Anyway, the

manufacture in Akahada was, it seems, in a prosperous condi-
tion about the time of Yenshu. Specimens of that period are
made of a clay ofadark earthenware color, with sandy texture
like the Shigaraki. The glaze is either dark or black like
that of a Seto. But as a whole, the wares kad a style of

their own. Those that were made at Yenshu's time, are not

stamped at all. Some specimens of brown glaze, are marked
~fls.
Aka-hada/( G ) graven with a spatula. The large charac-

ters in a-gourd-shaped stamp which is found on some pieces

are said to have been written by Sogui. The modern pro-

_ ducts have a little smaller stamp. Those that are stamped

“hke-hada-yand( ) without any outline are said to have

peen made to ihenseeo ral order of Matsudaira Kainokami
Gyozan, the then feudal Tora of Koriyama, Wo ‘waleea tea-
‘ceremony enthusiast and himself wrote the charatters of the
stamp.

Akahada is in Gojo, Soyenoshimo district of

Yamoto. It is a desolate place in barren hills

off red sandy clay. It is a little over three

miles distant to Hajimura, where Nomino-Sukune

pices aah mn ae Sinai a

‘ i 7 gin ae at Patel vi
ad a x t . a

» , ebam tatit eae biseakasuth odd oT Pr meine ton ak tt

“OCTOY 8 ae aben gated ese Fk tact. eldadoug ptiop a at $Ltod
eteh dolde om emo: {predtor ox telaiente® odio. SALE botrec ylree
edt ,Yewyad» 098 stacy berhatd ovit-ytaewt es yitee as toad.
~linod evotedserg # mE, BIRO OR ot a ebededa sak eutostumnam
ets botteq tads to hisiniaaatas hadi sudeanst, to. omit eld ¢ tuoda: molt
siirtxed, venue dtie sr0foe orewtedd te9. aiabato elo. a Xs, eban
oxtl aoeld 16 wieb.r9edtie ab esata eff . Saale ce anda etl |
to. si¢vte 5 bed .agtaw edt (elornw eee te8. lec Bote. todd
ton ots ould, atndedeY te. ebac sien: dads sport. +90 het
bedten ote Seekg cian to: anemiosys amoe ete te ‘poqueté
~ostsho egies! esT * sefedere: & tht be nevergot \abent=th
aooeig sent. 6! Pago lat dotdy. qmate- Bequitgsbrog s a eret.
0710 ‘atebon BAT: abuto® Yd meat ity aed ovmsi of Rtee ats 4
bequeda 04s fads esoa | mete. wokfpnn of4 tt @ eved efouh |
oe ; a ee dato dt iw. A, Msmag~ebact- oak”

atest Yo xebt0 feloewa ed? of eben aced |
¥ 8 Yo do! fabuot cect odd. nesoues |

Iii--27

(about 20 B. C.) is said to have made some earthen-
ware.
The wheel-made bowl shown in Fig. 19, is made

of a light brown clay, not very fine-grained, though
sifted. It is heavily covered with lustrous opaque
glazes of white and dark. It is hard and heavy, and
weighs 83 momme( a little over 2/3 1b.) It has a small
Stamp.

The origin of tne Kosoheyaki is not known yet. It is re+ )

|
corded in,Nihonshoki that Emperor Yuryaku had had some table-

sets made by the potters of Kusago, of Yamoto, in the seventeen-

th year of his reign. Some ceramies might have been made in

the province, previous to this time, but this is the first record,

and it is not imorobable, that the Kosobeyaki was started about
the period above mentioned, us Kosobe is only fifteen miles
from Kusago, in the same range of hills. In the days of Yenshu,
some tea-jars were being made in Kosobe.
Kosobe is in Shimagami district of Settsu. There is
only one family that make pottery now.
The jigger-made bowl of Fig. 20 is a specimen of (kk
modern Kosobe. It is made of a light brown clay, a
little whiter than that of the Akahada, and slightly
covered with an opaque and lustreless glaze, like
Lime. The under-glaze is grey and crackled, but
the design is in a transparent brown glaze. The

quality is sandy, like Akahada, but hard. It

Sasiout es
espaqe avortast at iw OTEVOD | : rues
ban ,ureed bap Brad: ef 33. <b hee. ‘ue te assets Roe Rl
flame 2 nea th fad, NS ROTO. » arene i: Jeason ae aafalow .

Ree ik Eee meee ee i casei rs 7

lee ki otet antes vas at ieee aut to. stag edt.
~sfdat emoe bad bed seiegsey yoTSqma dart Hiofoposiigal bobtoo-
~neotne ved edt at | dtomex te sopeank to etettog. edt yd qd Shaw StRR: |
at obec. noed eved Saigo, enimartes, ROE. atmo, ans ‘to. 160%, at
,PL09eT text. ont, ek aise tad. sept: ahd, ot apotverq yeoaivotd ont,
inode betzete few blsyedoselt, oat tact se idac gram ten, et, th bog.
sel im weost2t eng, ae odauoxX ae shone ites: oda. hotxes eit
wideno® £0 BYeh, of? # aL Ageaner | ena8 ade a epee mort

: righ a i; J nach ab ® em shod ot moe

IIif--28

weighs 73 momme(about 5/8 1b.) It has a sem-
blance to a Korean ware, but is not without eden

originalities in it.

Rh Takatoriyaki was an unglazed ware at first. The book
record of a Chikuzen pottery dates back to about one thou-
sand years ago, but the actual origin must have been a little
earlier. On the occasion of Hideyoshi's(Taiko) Korean
expedition, Kuroda Nagamasa, lord of Chikuzen, hapnened to
find among his Korean captives, an excellent potter, while
Kato Kiyomasa found another among his captives. They came
both of them, from the same village called Ide. The former
ae renamed Hachizo, and the latter Shinkuro. Both were
brought over to Chikuzen, where they were told to start
their factory at Takatori, in Kurate district. This is the
origin of the Takatoriyaki. Not long after this,.Shinkuro
died, but Hachizo and his son Hachiroemon were sent by their
lord Tadayuki, son of Nagamasa, to Fushimi of Yamashiro, to
study the artistic designing of Kobori Yenshu, the then peer-
‘less tea-master. Another potter, Igarashi Jizaemon by name,
formerly of the Terasawa clan of Karatsu, who was an expert of
. Shikoto ware and others was retained by Tadayuki. These three
were making tea-bowls, tea-jars, water-jars, et cetera,at Taka-
tori, and were perfect masters of the trade. The Somekawa,
Yoko-oka and Akinoyo, all tea-jars especially named by Yenshu,
are the most famous specimens of their works. In later years,

their costerity moved the factory to geveral places; in the

4 “av es CF telelae s* Gon i ls Il —
POR RO goa eee mee
> "th =) oy, Pee, On tor

Pyeat eet ts eset ipa ines” ¥:

mgmt ae nt 5 is ~ at, « —

nated s ‘eed ¢r | (ust e\@ tose) esos sr esta tow |

a ie tie |
ae twodt iw ‘ton aid tad OTA Panes #& oF sone ld
fo Mee mt westtyaniat en

xood ‘eat tert? te orem ‘bona tgna 8 i. biaiiesetet
~tott eno ‘tuods: ot toed eetes yrstted mous bed a te. ‘pr0os%
oLttil e osod evet ‘tem abgtte Lex? 26 edt tad 1038 steey ‘base
| Reer08 (oxte®)a* Ideoysbps to BUSREDDG end a. »reailuse
ov beaoqaed nes slid ‘to Brod seemsget shore, soit thegxs
eficw vtottoc taetfsoxs the seovitqes mes to% ad ‘Smoms fal
ema yell sSeviiyso ard gaan todd ons into sanmoyy otex
“gentot oa? obl bol ine eeatity omes sit apr jmte.ctt to tog
@tew tos sot ratte edt bas. voanitoail Bomacte a B80
"Seeds ot ‘bred eTew sare oxedin monsrtse0 oe “evo ddguots
edt af tay “dobsta stetet ne dtoteds? ts yrotest aiodt
ornintde.,eidt xotte gaol tok ialnoitestet edt to aigito
atodt od ‘ties eis momo oristoell aoe Bhd fia, oxtdontt tad bes
ov OTHE 0 imtdeut ot wean gst te oe -tiereabet Brot
-tT9eg nad eae aacined Rpcedii te : bes aie : oitabina edt ybute
Sine yd nomouws st Estes | stataan-sed asol
to tueqxe me ben ‘ote ot 1a : oats to yfxomrot
eoadd coodT ee hot vd. Ben @ Bait owe ovoatde
S -eie ts ratte to pot -seten ,etel ;
a vemastemo? edt * "488 eee rs
7 cam) " hie so

Le

A

“4

IIIT--29

nineteenth year of Keicho{1614), to the north of Shira-

hata MOpREEERS G8 Aiyanonakamura, Honami district; in
oe ((667)
Kwobun seventh, to Tsuzumimura, Kamikura district; then

UR

to Rokutanma of Tajima, Sagara district, and Ogaya of

‘Shimokeigo, Naka district; again in Hoyei fifth(1708)

to a hill-top called Higashi-Sarayama of Shikahara,

Sagara district, where the two families were turning

out incense-burners, incense-boxes, bowls, water-jars,

and the like, all of fine workmanship. The best of them
were made of a clay found,in Mukosano, of Mikasa district.
In the third year of Kyoho(1718), a factory was started: at
Poeiseanackas of Shikahara, where various utensils for
daily use were made. The materials came from Takamiya of
Aiyano-Nakamura, Honami district.

The 6hado-sentei says the Kop Tameper eC oae Takatori )
was made about the time of Taiko( latter part of the sixteenth
century). The oldest specimens aretmade of a erey clay, but
the others are of white and violet clays;,like the Karamong,
they have the left-hand side itokiri.

The earliest ater as were being made in the Korean style
and had no under-glaze. It was after the introduction of the
Seto method by the Igarashi family that the under-glaze was used.

It seems the earliest works of Hachizo were made of
the materials brought over from Korea; his genuine works
look exactly like a Korean in clay ‘and glaze, as yal eee

in their general make-up.

-etide to iss eit er “liahesoter ts 100% ‘dthéerenta

ai jdoixtath tkaaol jermmdtemonayih to wtetnwolt ated
nedd ;tolttelh sisv ime. axumdaiaue? af Be eves nid gw
to ayegd fae, ,tolwats siten8e ential ve sansa tito ot
(S001 )dst14, Logott ‘ni ’aiags ;toitic1b axle ,dgtodontde
gtadextde 16 ameyetad-idesgit Bolte qét-iitd s ot
‘quintet orem optfimat ow edd exedw Jtolutehs exe'ye2

‘Y jetet-retew elwod (eexod-eansont (etotand-seasonr 0
“mead? to ‘gas exe aide domeiow “shit 26 the weit ent bas
jolvters aaatiit to Caius ‘ai, bawot wale ate: Shida, stew -
ta. bettasa gaw ¢idtost 2 “18iv odors 0 ‘997 ‘duke oat al
de BEPacoty evolu area Stele ede to bine etna ide ln
“to: shay mort eho alalnzetem eat .ohed orew- en ylish ~
ae ‘deities fitiacoit .@runedel- ony EA.
“Utetester toh stink ott sal aun cecal oft re

Steg As oh

gud yefo: dis 8 to eine an i“ seta th
Baonetet os eakt. 2eueie eoteit ts pt bie te ou erexido -

Srere abet ee be ea hed Seo
oat {6 “no ffostoxtat panne
Beer ean phoreiieaiad ae tact Yrime

ie tre de ? ker ::

ae eo ae § 45 ae ‘3 oe ae oy ae

IIL--30

The wheel-made water-jar of Fig. 21, is about
one hundred years old. It is made of a greyish
white clay, and is coated with a lustrous dark
brown glaze of medium thickness and semi-trans-
lucency. The ye@lowish brown over-glaze iS also
lustrous, and semi-translucent, but is Veia a
little more heavily. It is hard and compact,
but rather medium in weight, measuring 243 momme
( a trifle over 2 lbs.)

The wheel-made pitcher of Fig. 22 is also
about one hundréd years o1d. It is made of a
greyish white clay, hard and fine-grained, and
is slightly covered with a glaze of the same
COL ox. The design, very much of the Kano style,
especially of Tsunenobu's, is in black. It is of
medium weight, and weighs 49 momme( about Sete)

It is marked"Yo of Taka-tori" on the bottom.

The earliest glazed Higoyaki were made about nine hun-
dred years ago. They were made of a violet clay, rather
coarse in texture and coated with a water-glaze, violet and
crane Weeds,

In the second year of Keicho(1597), Kato Kiyomosa, lord
of the province, brought over a Korean potter from Fusan,
Sonkai by name, on the occasion of Hideyoshi's Korean expedi-

tion. This foreign retainer of the Kato family, was renamed

oftab auontan tia’ dene Gaaae ke: rn aa ob tiw

: | Bards tne’ birt: aeomtotdt airtiow to sae word”

| ae gate aa ensign t9vo wots a

" 2 bist ar tus: sdaeewfenstt- face fae yatottant”

| texqnes: bas btn et bes - sUhtvecd eros stotir |

semiatcat. Gas aniawasen \tdgiow at nab B Sat tediot tod” ee wd

7 | | . | oes ap (eadi eI weite eltixt a =
wits’ ek 3g" sar to tedotiq: wiles fonda oat

sto bet at at (bLo° ete8y: bawhatwe seme toda

bne Dombexg-sah ‘iis bead awbto ‘ordw dangers ie

ee er "i ons ons So ously addi boteves eltagtre el ; Sor
weigte met aaa tt somm ‘ter. jigtacd: act clseten 7

doa at ‘aon ak ak (etidoneaue? to thtersoqes ae

feet ays ila ae ciate dighew. aetbomr

r4

fe two t60x ‘ett stomeadt

\

as

rs rs
eo,

anit core ods.

ee

III--31

Uyeno Kizo, while his second and third sons, who came
over with hin, Yard renamed Chubei and Toshiro, res
spectively, and went into the Hosokawa family.
Generation after generation, their posteritzes were
vassals of the two noble families, and engaged in mak-
ing the Kohdayaki, until about ten years ago. Shuzo
was the seventh successor of Chubei, and Yahachiro was
the seventh successor in the Toshiro family. Tarosuke
was the first son of Toshiro, while Gantaro was ee
th successor to the former.

According to the Chado-sentei, the tea-jars of Ya-
shiroyaki( Hizen) made by Kichibei are of a later period
than Taiko.

Higoyaki was made aS x@ae in Yashivo dis-
triet of Hizen.

The wheel-made tea-jar of Fig. £3 looks to
be about two hundred years old. It is made of
a greyish clay, fine-grained, but rather soft.
Its coating is of eh Pre ees opaque glaze of
coffee color. It is light in weight and meas-
ures 18 momme( less than 1/6 1b.) It seems to
be a specimen of Kizo's works, made of imported
materials.

The tea-bowl of Fig. 24 is only a little
over twenty years old amd, of course, was made
with a wheel. Its finely-sifted clay is of

light chestnut color while its thin coating is

osteo ode 88 bite bne hsiopen ets
aot oxkdaot. bas boda) Someaor oxee + tet feats ‘sevo
(thant: ewetoaon | oat ott toew bmp sWlovitosae

eTew Bott ixetaoy xed? ,noltexeneg sotte nottexened

~dem mE Segesgue betas “eortingt siden.’ ont bak 8. aledéav
oxnde Og ‘aeoy wot twodis: tito, bleyebdox edt gat
ew otidesre® bre beet % x0aas00we diaevee ef? eaw
saseotel oer iont oriciept ont. al ToRgeoose fit n6vea al

“mele edd asw o-tadinad el kitw. voxtdaot ‘to. 08 taxit eit saw
eee is -omrot oat of noacsoowe “ae
et to: Stal oy ent kosion-obed® edd ot qmibitooos
bobteg retet & x0 Sts tegidona gape frente | dalagorente
wouter nad
ae 4 patton? & sabi bn bain ae degogis. .
smostl to me
‘of extoot a sik caat-ent Sbeit- foot eat
“o' sbam ef dT | Bro: arene, deeb’ owt: dyode, a
Mtoe, zonder tus Kawtawacosi® pete. Heirons s
“Qo enetg supate ade laxtent 2 %4 at auttedo a9?
Ce aaetge extn

IIIl--32

of a lustrous glaze of geyish yellow. The design
was engraved on the piece, filled with the white
clay and then polished flat. It is rather med-
ium in hardness and weight and measures 41 momme
( slightly over 1/3 1b.) It is one of the tea-
bowls used in the family shrine of Hosokawa, and

so, it has the mon(crest) of the clan.

The first glazed ware of Satsuma was made about eight
hundred years ago. It was made of a light brown clay and

coated with a water-glaze of the same color. Itsg quality

-is hard and coarse. The Chado-sentei says the Ko-Satsu-

ma are those that were made about the time of Rikyu, to the
order and taste of Yenshu, in the shape of gourds. They are
marked Bogut A } on the bottom, and hence called Hoju. It
also says the se-called Higo-Satsuma were made in Higo, in-

stead of in Satsuma. But, according to Mr. Zohroku's

. Opinion, the Ko-Satsuma were made by the Korean potters, more

than one hundred in number, ead brought over by Shimazu Yosh-
ihiro, on his return from Hideyoshi's Korean expedition.
These potters had brought some clays and glazes with them,
and so their products were absolutely of the Korean style.
As a rule, they are made of a shestnut brown chayr and

heavily coated with a lustrous greenish black glaze. Some

are made of a light brown clay and thickly covered with a

dull brown glaze, or with a yellowish grey glaze with some

saiueb ont : worioy (a bg 3 ; : vo x09 suntan! & to. ee
otis ond adie bertit waned | eat 0 Deversae: saw
~ Beat redtot et ¢z, " stat hosattog aodt ne elo | |
emntost cy euTwacen ae tiigter base eaeaboed at usr : Ra

-set ont to nto ek a Cr BME tevo giiigite le

be vonestoaol ‘te ou ixte , itaet edt at beast alwod

one fo add to. ($2020 )aoet, edt Beil tt 108

f é
Pre

“HMgie tod baw Bam, ‘ena to oten f bases dextt edt rm

bre yelo wot igh 2 to obs aaw a. Pa: ame. Borbhasi

“ot tase gest 2000 onee ont to onalg-ct9tam ro) Ad te! Sateoco }

-nats2~oX oat eyee tetnea-ohesdo oat 8gtH00 bas fred ag
edt ot mala to emit, odd iweds: bya oxew saztd oaadtt ots ait
Ta. yodt abx08 % eqaile eat ak “aiden to etext Ares sehto

Pe

aI. whol boriae. soned bas mottod: edt 0 { ® B \stox hoktea

oe!

nat oath at, ehet sion aauetae-ogih bottao-0a ee ayee oefa
ae | atolonoR, ce of es oh: _ amma Mies: beote

ad
ie 4

III--33

line-designs engraved on them, filled with a white- glaze.
This kind is called Mishiemade, Then, some are glazed
in lustrous white, while others have greenish black line-

designs painted on the white ground, made after the style

of the Sohkoroku. It was not tntil about Bunkwa(1804-1817 )

that wares having colored paintings were farst made.

Satsumayaki was first made at Chosa, in Ora dis-
trict of Ohsumi, but later, the factory was moved to
Ichiku, in Hiki district of Satsuma, and then to Nogh-
irogawa Ijuin of the same district.

The wheel-made jar shown in Fig. 25 is about two
hundred gsndrsevénty years old. It is fine-grained
and hard, and made of a copper-color clay, heavily
coated with a lustrous and somewhat translucent black
glaze. The under-glaze is dark yellow. It is very
heavy and weighs 3580 momme( a little less than 30 lbs.)
The inside is not glazed at all. The bottom is round,
and has a mark as if it was baked on top of another piece
with the geta-okoshi( see before). The bottom is cover-
ed with some sands. |

The wheel-made tea-jar of Fig. 27, is abeut one hun-
dred sndvfifty years old, and is made of a copper color
clay, with a medium-thiek coating of a dark aie glaze.
The inside is not glazed. Made of a sifted clay, it is
fine-grained and fairly Hard. The weight is medium and

weighs 29 momme ( a little short of 1/4 1b.)

mya a ie Sil = Aes
Be Scr ae ee fet a
(88--T11 a

-otats ~sbsite & dd bw bor TEY odd to eversne aigiesd-entl
‘besats: ote ome. *eott- “ebeagta tat bettas al bait aid?
wank i toad faknooty, vad axodto. olin otide: awoxtent ar:
efute eit odie sham sbasorg, ‘et bitw eat ke ‘Retaleq emgiess |
(v4er-808L ene tuods rites tox gan’ E vento woadlo® edt to.
‘eben daxst etow egsithted botofod. gatvet soraw tad? 4
~aib #20 ni (geod $e obam. texit aun bXaymoadet
od bevom pay eres afd. retel tad een Aches FoLfrt |
. : deol ‘od nest} boa “emueta® to torxtats ‘bet ak ~sxttdol
Se ak dena eniee oat te ‘steit euegotl a
awd faots i 38 out ‘ht awoite sot ‘Shae feedw ‘ett eu
bemterg-aalt al rca te Bisey viadvoR bam Boxbaml
“ylivaad ‘yelo ee ee 8 oT eben ae breed baw
joins. Ben ‘euro oui oho. ie psteoo ie

Peck:

_saleamoinae _—

(eat 08. ro
bao ak n03t0d oft

7 fie z

40708 ak E aera

"Ak

III--34

The first glazed Izumoyaki were made about eight hun-

dred years ago. They were made of a greyish clay covered

with a glaze of the same color; fine grained and hard.

Sometime later, one Gonbei, voupil of Komazaemon,: started

to make a ware, something like the Hagiyaki, made of grey-
ish clay,rather coarse graineé and covered with a yellow-

ish glaze. some were finished one rusty glaze, some in
yellow’ or white, while others were in greenish black} all of
a lustrous nature. Those having basket-work designs on them
were made a little later. They are fine-grained hard, and
heavy. Those of the earlier date have no marks on them, but

it was not very long before the hexagonal mark with the char-

of
acter Zen( 74 ) was used. Those of modern make have a gourd
mark with the characters Un-zen in it. The Rakudémpama,/ the

output of which is usually like the Pag aeee was started by
Gonbei, but the factory at Rakuyama was discontinued. They
are making the goods in t@wn now. The handsome Igumoyaki
of the present days are made in the Fujina factory.
Komazaemon came from Korea in the days of Hide-
ane was naturalized and lived at Hagi, of Cho-
shu. some Classic-looking pieces .of his are much
like a Korean ware. But those of a more beautiful
texture were made by a little more advanced method,
the combined Japanese and Korean method.
The wheel-made tea-bowl shown in Fig. 28, is

about forty years old, and is made of a coarse wlay

boro¥os wlo sei a ae ban oror th “sage ower ne

bres bas heatets, ontt’ totes: oman. out v6 oust @ itiw B

botwie _Hoaessemos ta: toque sstednod ene. vtetal omttemoe ;
~Yarg to eben _tleyigss oxtt Pp iae gaidtomos. ‘ett & ‘elem oF
-wolley s. athe. Berevoo bas beaters eaTw09 xedidat eto. der

mk anos asta) urease a a hone tart éxow woe. “soselg: dat

to ifs ¢dosid deracorg nb etew erento elidw: od tite tow frog
me dd 10 angieeb traw-tesieed satvad bgont - sister usorten! _
Bae: ras henietz-oatt ou ‘ont. etal elteEt e ebam ‘ee
tud sont 110. exten on. gvad eted tetixes exit to: snot! _ devsed
~ rade odd: Adem xtam Isaogexed ant exoted gaol tev ‘tow eew tt
Bx0g. & overt oxen graben to saod? bees eam it Hines moton.
ent ou SB Bente edt , "eae ob neat erotoetads ott Asiw Aisa
‘da. bedtsta Baw hawt oat. ‘ait vifeves et dois. to taqtso
vod? showed oaoce 15 ean amelie fe erotant: edd ‘ted ebedsod
fanaa emtoab rad oat wom was ar aboog, oie: garden ore |

ae ofan “gasteat Cale ab: oben ote: soe mowed out $e
7 0H to: ped | | ‘éme0 4 7 |

III--35

ofegreyish earthenware color. The glazing is lustrous
brown, possibly a water-glaze, with white brush-marks, also
lustrous and thick. It is of q medium weight and measures
48 momme( 4/10 lb.)

The “mukozuke’bowl( a bowl usually set on the further
side of the eating tray)of Fig. 29, is about two hundred
years old, and was shaped with a mould. It is made of
a greyish clay, rather lightly coated with a lustrous
white glaze all over, except the top of the foot-knobs.
Its classic-looking design is in indigo with a blackoh
tint. It is fine-grained, hard and heavy, weighing 56.5
momme( a little less than 1/2 1b,)

The wheel-made bowl of Fig. 30 is of a recent date.
It is made of a white clay, and covered with a black
glaze with a suggestion of red underneath it. The glaz-
ing around the bottom is a beautiful white of vitreous
et The wheel-marks are hardly visible, we 6ven
the bottom is glazed. It is fine-grained but rather
soft and light, weighing only 22 momme( a trifle over
1/6 1b.)

The first two af the three specimens above mentioned
are of the Korean style, but the last one was made in a

different style.

The glazed Somayaki were first made about eight hundred years
ago, of a white earthenware color clay and covered with a lustrous

water=-plaze of the eolor of an egg-shell. Their quality is

a8. - ET ee ys cee ities

avotéaul ef antag ont «toLos ocamesitt ase sa teore xs |
oats ,avteatsemnd otide add iwy seasla-roter B ore bueoe eased
eordasent bate ‘ty lew mar EB om # to ai a alo bad bas esottent
7 | eee ioe | (.éf or\s )ommom e3
todd eft no toe vi fess rod e = \iwod*olvs oxten” ot
bethand owt duoda “ak 8 cart to (qett gaites edt to ebta
Bi ‘ebast et $I .blwom 2° nate beqade aw bae ,bfo etasy
asotteg! 2 thw hedsvo Ultdgit tender Yato da tyes £
. -adomi- toot eit te qot ed} tqsoxe {1970 “Fite sxalg etidw

Setoa te @ dtie ogibal at at agteob gititoof-elaselo 5. ae

a. a auittgtor iris am “brad bonterg-satt at $i. tnd
wie ‘Gat a\r ned eael e(rttl s )omsom
sare ‘tneoet s to at 0& wait to Iwod ebem-Loodw oiT

tools @ atiw betaveo Dae dale otinw 8 to ebem at +1

“asafa ‘ed? th sit gonto bow bet to wottsesgue @ atin oxela
a avoottiv to otinw iuthtawed. Fy ak mottos ould basots gat
ge ee soidtaiv qibied exw ‘aittem-foodw eit - “Wi ifeup 7
ios sedter dad bontery-ent? ei #1 | -beselg. ak mot tod oft
- ‘tev ) eftint 8 | Yeon ss 2 tate aaitigion tight baa ttoe

{.df ba -

atone sonst 6 oat te owt toxit ont

III--356

rather coarse and sandy, but hard. Those that were made just
prior toltensho(1573-1591) period were rather soft and sandy,

though heavy: They are pelued Muji-Soma(plain Soma). It was

about this time that Kano Naonobu painted the horse designs on

the goods in a rusty glaze. Those of later periods are a little

bluish in clay as well as in glaze. They are more sandy, coarse
but hard and heavy, and have a style of their own.

Somayaki was made at Nakamura, in Uda district of Mutsu.
It was so called because the place was part of the manor of
the feudal lord Soma.

The wheel-made bowl shown in Fig. 31 is more than two
hundred years old, and is made of a whitish clay. Its
lustrous water-glaze is of the same color as the clay.

The design is in a rusty color, and very slightly visi-
bie. eee fine-grained but rather porous. It is
rather medium in weight and weighs 62 momme(about 1/2 1b.)

The flat bowl of Fig. 32 ia also a wheel-made Soma
en ene hundred years old. It is made of a pinkish
grey clay, covered with a water-glaze of the same shade.

The a is in a dark glaze. It is very sandy, coarse

and heavy, and weighs 125 momme( a little over a pound.) .

Ninagawa Noritane.

May of the 10th year of Meiji(1877).

ek oe nyo ae 0 softer
_ Vines ie ttoa tedter pg Pec mokiq
aew #I_ + ( emo2 staLqlemoR-£tatt ‘Datheo | exe vod? ~+yya0d Agnodt
ro anataeb ecrod oft betater adoncat one det ‘ont etds, tuods |
oLshlt 8 OR aboited zetet to pad? oeealg Wert a SE aboog vent.”
eatsoo , tonsa et0m ers od. sear, at ae tlew Be. yalo wt faisté |

it

test eben. Tow teat scout

* two shod te otyta. é vest ame \gveod. baa bred dad
rateM to toimters: wht ak etomate tt te bem vex, idleyamoe. |
to romem edt to tx80 leew ven ant, onste9ed, beflso oa. ae8 $1
Ride Ee ‘an me semi? Deol faba’ odd
owt. nods STom el Be ait at rose, wed sbam-Leadin edT sate

esl swale dertidw Ss e aban st ssa, te axesy, hetbard
yale ea? Be xoloe ones eas to “ad. eseig-toten avottasl
toby Mitdatte. xrev bee ‘plod, set. Ak at agieed ed?

e ar ar -a00r0q ‘redder ted. beutatg-entt at 2 note al

{ dt a\r tsode lemon, 88 are peal ut aaan, hve

| am08 ebam- Loose, » onl at BB. Mes

ey Fe
ails

@ tone,

oy

P f

III --37

Addendum. -

It was only twenty-two years ago, in the second and
third years of Ansei(1855-1856) that the first trial of
lithography was made in our country by one Yoshio Keisai
of Nagasaki, who had been initiated by a Dutch adeeds then
staying at the Netherland consulate there. Simultaneous-
ly with this, another attempt was being made in Tosa, by.
Hosokawa Junjiro. Thirteen years later, in the first year
of Meiji, a lithographie machine was bought by the Osaka
Prefect, and in the following year, another trial was made
in Tokio at the Kaiseisho School. About this time, the
convenience of the type-printing Was attracting some atten-
tion, and the several departments of the Cire hueads came into
possession of some old-fashioned printing machines with a
limited Stdek of type, though they were not utilized to any
considerable extent. In April of the fifth year of Meiji
(1872), the Government Printing bureau was first established
in Tokyo, at Tatusnokuchi, on the grounds of the former Denso-
yashiki, under Hosokawa Junjiro as its president. Besides all
the department machines which were transferred to it, some
larger machines of a newer type were brought into use. It was
in May of the next year, that a lithographic department was
started in the Bureau under the supervision of one Boynton(?),
an American; when works of any details could be executed for the

first time. But for one reason or another,’ the department was

_-oattet xomrots itd those:

Care ae 4 ee: tet Rey) SG. PE
Pe te See a sini ae ar igs ey
bas brooea ont: rt iote idiee: owteqoaont eine: aew tl -

‘to Lart? Soret ont teat (aaer-daer) teams 20 ‘atest prise
tseiex ote Heed yrtasoo ro ek obam saw wiqetgoddif

‘nedd toteob doted « te botattiar nose bert ait ptisangel to

“-puoonet Lame’ # etodd ‘steksenoo baw lrodd olf edt ‘te aniyete

vd +Ba0k ot sbisn anieé tow tamed tis oddone he tm tie yl
Tsay vexit: edt nk {reset ateoe meodttd? eentant awedtoaok
gised. edt yd aiqaiod, sew enidosa oddiqertaodt #1 B th iem Te.
Shen aew Ieixt rodvoas. ad antwottot edt mt Sab- vioetext
edd omit! ett? tuoda ”>.reodo®’ olatoete® edit te Oido? nt

--motta’ emoe’ gnitonntte: asi gnitairq-equt odd. oS eonsiaevaos

ro

otat-emes terouurt evod: ontt! to ‘etuomireqeb Laretes: ont Bie mont

ia ado aonidosn gaitatrq, bac feat-Bio enon te noieaeadog
“whe ot ‘beRti rte ton orem ged egaods ee 16 doote bodimil
«tbe to ieee aon eitete Livan ae pote. efdaiestence
Fodetidedas tattt ‘aew aneend oe new 4 ene aver)

t

4

III--38

discontinued in the following year, before the art was put

ae of a practical use. It was from this same Amer-
eet that I got instructions in the art in the winterg 1873,
and was enabledito make some trial lithographs, using a
English machine, German stone, and Austrian ink. Works of

a French Catholic teacher, an American merchant, and sg Spanish
teacher, who were doing some lithographic printin A were of
no small help to me.

In the meantime, Matsuda Atsutomo had been working hard
on his lithographic experiments with little success; so, in
January of the cere year of Meiji(1874), I sold my own
machine and appurtenances to him, imparting him the little
knowledge I had. He also got some instructions from Mr.
Yamaoka about the printing, and employed Mr. takahashi as his
draughtsman, but still his efforts were not crowned with any
considerable success. Then a book was sent'to France,
which was translated by Mr. Mikuri. The knowledge from this
source ,together with some useful advices from Mr. Yokayama,
enabled him to make,for the first time, some fairly good works,
though they were still limited to some simple works, such as
single-sheet plans or drawings. |

About this time, the departments of War and of Education
were doing some lithographic works, but even their art did not
seem to warrant their undertaking, book works,

It is to be hoped that my having this book of Pottery
section of my Kwanko-Zusetsu printed in lithograph may lead to a

much further advancement of this useful art, by which Mr. Matsuda

eri oe

tir Baw te ont saptet 1t28y gatworfot edt at beuettmooezh -

Ren sa oun! eae
= tom omen atdt wort enw - +t 688 Lee . Laoitossy » ‘to. dows otat

STC Lprota te: edt at tm edt ak ancttourtent ‘toa. & dade sok”

i Sal antes adqesgodt ih faite omet eater. ot: Bolduc enw. bt
“x6 eaxoW og Mok seiutairh bss somote, soaanea® (eatdoas Kattan
| telnet” s bee ,tmedotea mob coma: ne arora od obfodind donert £
2 i Sooenare oaseatgaded a ‘snore: anton exem ote téfoast
Pe ety, ate tie ‘oh Semone gy tedt itame of

brad aera ad bed, sinatonith. sbsradatt _enitaeen elt af | s

sid hie sn

ae. il {aaegnone efedit
«to. yan BLoe I WOE) 2pbew to 180%. dtnevos et? Ro grea’
“etesat edt med: gabtiegqms mich of asonsnattoqts Baree anttoga
in OE mot: endkdonntees -emoe: tog oaks: oH. -bad I eghefwoax .
aid: aa idnadotar. om beyorgaie: bas anttatig oct hoi exosmat
wae, atin. heawor9 ton ‘siow gtxotte. eid Aitta’ oad ape tcgsesb
19982 oat tae: eet Hood ee eg : -abenoone, eftsteiteanco
ait + oirts esbelwonx oe axa att wa “tie tatemexd ane doidw
| | tomcerteato¥ santo deste Ayteus eho a8 tw zeritogo
ation, boo giant emg. vant deer peat: ‘sol (etsin, on did batiens
ae one vectiin, #amts emo. ene Wil Like exe todd. ctgcodt
es eat es beh ore tae Hn: ceganin ie ite wehdorat gets

to Ht pons te bre =f to om’ i" tat omens: ae eee:

+ eorbo8 -

: aie et heat neque phrigengedt if etn: ao | 3 |

III--39
has been printing these three volumes with increasing success.
The progress so far is remarkable and important, but there is

much left for perfection.

“pbepotrs
al eres? ta |, tnedt hit

Soe Ae gHedboetaeg not Ite doge

Kwanko Zusetsu

Illustrated Notes of the Antiques

Pottery.

Vol. IV.

By
Ninagawa Noritane.

May of the 10th Year of Meiji.
itty a

According to the Ashikaga Shoegun-den (History of the
Ashikaga Shogunates), Ashikaga Yoshimasa, who succeeded to
the Shogunate on the death of Yoshikatsu, in June of the
third year of Kakitsu (1443) in the reign of Emperor Go-
hanazono led a very extravagant and dissipated life. In
the first year of Kwansho (1460) he started to build a pa-
latial building and beautiful gardens, in spite of the em=
barrassment of the helpless emperor, at the expense and to
the distress of the people, whom he forced to contribute
various materials for his building and gardens, not to speak
of the onerous tax they had to bear to furnish him with the
funds for his extravagances In December of the fifth year
of Bunmei (1473), in the reien of Emperor Gotsuchimikado,
he nominally abdicated the Shogunate, making his infant son
Yoshinao his successor, but still holding the sceptre in
his own hand. In June of the fifteenth year of Bunmei
(1483), he moved to his new country place built in Higashi -
_ yama s According to the Yohshufushi, this extravagant
prince was a great art collector. Nothing was too expen-
sive for him to gratify his taste and pleasures. He made
an enormous collection of the sneered antiats his orders
for new things to be made to suit his taste were almost
endless. The so-called Higashiyama Gyomotsu (Higashiya-
ma treasures) which we often come across now are mementoes
of his extravagance. Those that were made in his days are

most of them works of his favorite attendants so and so Amis,

- ad +

eft to yiotetH) ash-mme-on2 sgeltdeA oft of ant bio09A

ot bobseooue onw ,seamideoY sgadtided . (setsnugosn? sgstisded —

eft to smut ai ,wetsvideoY to Ajssh eft mo etsnugone edt

+09 To TS qm to. mgist ent ak (Si3L) wativsdt to 1294 bibs —

aI ,ettf beteqteetbh bas tnsgsvetsxe yisv s bel onoxsmad
-sq s bitud ot bettsta of (0541) onenswi to 1sey sett oft

«19 .od3 to otiqe at ,enebtes Iutitused baa gathlind Istisl

ot bra oe nage anit +5 _ Tots qine eaeslalon ent to Tnemsestiad
stvdintnos of beotot of modw ,efqosq eft to aaetteth ont
aesqa of tor ,ansbisg bos garbaleud etd xot alefistem evottsy

oft Ntiw min Materwwt ot tod oF bast yet xt avoteno edt Yo

189Y Attit ocd to 19dmeced al gsonexsvetixe afd tot abnust
| obsd tm dowatod “to isqmne to motor scd. mt , (EVAL) tomau@ to

noe tnetnt ait nailem ,otamidf@ ott botsothds ylientmon of
“at etigqese ont att hlod SLite tud ,toeseooun eid ORALTRRE,
tema to" neoy, Atnsedtit eft to enut al .bnedl owo ata

- filesg ii nt tfiwd soaiq witatios wen atid of bevom anf , (S8hL)
tdagevsttxe aint | Edteu? usta do¥ elt oF ant bioosA + IBY
~taqxe oot @sw guinvolt «‘totoelloo tis sot, & 2aw sont ta
ebam 9H .semeselq bas etast ati yittets ot mid tot avia
arebio ais oltdw ,aoupttas ons to soitoetfoo exomione ms
seomis stow Bdaad. atm tive ot obsam od of pares we rot
~sXisess th) vatomoyd anuey.tsie ag tH heotixo~ee eit ,saelbne

asotnemem sts won agoros amon setto ow fotdw Chadians Sit

H
ets aysh abd mi phen ovew tasit ‘seonT .someysvettxe ati to

ghuA os bas 02 etaebaotts ettiovet ein to sxxi0w ment to teom

<

TVee2 &

among whose posterity some still carry on the same trades
as their respective forefathers, as Tai- Ami and Sei-Ami of
the present, for instance. |

From this time on,the love of the classic arts became
so popular and prevalent among the people that some enthusi-
asts went even as far as to prepare themselves pottery of
some odd make-up and had it baked in a near-by factory. It
was this general love of ceramic art that led to the estab-
lishment of a pottery. factory in Kyeto at Higashiyama, about
the period of Yeisho (1504-1520), which was the first attempt
in the province of Yamashiro of making a glazed ware. But
owing to the small size of the furnace and the consequent
insuffiency of the temperature, the output was soft and frag-
Lay and was anything but comparable with the hard and beauti-
ful products of Iga, Shigaraki, Seto, and so forth. These
early products of Kyoto were called Kyo-saku(made in Kyoto),
but later they go by the name of Ko-Kiyomizu, or Otowa-yaki,
It was aboutGenva period (1615-1623), that several factories
were established at various places of the province, which
were competing one another in the industry.

As it was, all the factories in Yamashiro were starte
ed much later than those of other provinces; but owing to
the fact that the province had in it the Capital of the coun-
try and so many fine views and historical places, all of
which had more or less inPivence in refining and culturing
the taste and judgment of the people, not*to peat of the

abundance in the province of exquisite old specimens of art,

a ahh «ze = aSeeVI :

sebsiy smse ott m0 gris. ALE te emoe vtiietaog es orw, Broms
To rk bas imA. nen 28 .Atoridat one? evitoeqee: thet es

| ,sonstent +0 ~tmessrg. ost

emsood atts ptesets eit to ovol ort, no, omit J abst mont
~ Lausitne amos tadt slqosq off gnome tnelevete ‘Bas aelvqgog 08
to yiettog aevisementt sisqteiq ot Bf Ist a8 meve tnew ates
st e¥TOtost yd-1s]9en 2 at bexsed ti bent bos Gite ool sh bbo oemoe
etn sit of bel fait tis ofmgiso to avol inten aids esw
tuods spinevtteaa sit ta oteyi at yiosos? yietieg s to tnemdetl
tquodie text? eit asw doidw ¢(O82L-B0eL) onlei sy to bolts: ont
tua eae bessfs e« natitam To ottwecmsY to. soatvoig elt mt on
tooupsanos ot hick neers ott to.este Ifsma eft ot gitwo
“gatt bas ttoa _— gugqiuo edd _oiudeteqnes eft to yonotttvant .
-ttugsed bas bie eft ditw eldarsqmoo sud gaidiyns exw bas .oLt
seedT sito? oa be ,ovee ,ttmisgide, , sgl te avoubotq fut
(otoyz nt ahem) sisa-oVd befLso stew otoyN to afoyborg ¢lxee
tlsy-ewot0 10 ,usimoyil~od ‘To omen edt Ud on yodt vretel sud
estitotosit Laeisves tesa ((888£-2182) habren ‘cial Nite asw JT
dotdw ,gontvorg oat to asoalq atoinay 3s beratidgtee erew
e¢itambat edd ot sodttons eto gitteqmoo s19w
“tists Stew y OE amsY fe aettotas? ent ifs ier Pe ae? Cee
ot gatwo tud ;geoniveorg ierito to seont ned? tetsf doum. he
-nvoo eft to fatiqs) ent sh mk bas somtro1g oatt tant tos? ost
“to Lia 1a90sl7 hageh te haee bas ewsiv butt rsa oe bas yt.
sack nerd Lard bas aatatter at eonoultat aeet x0 stom bari dotdw .
odd To weeqe od be vale ace ads 30 tase birt, bas stest edt
its peepteie, Blo. ad to i esias _ mt sonabmuda

IV- ~3 @

those factories were able to produce more artistic things
than any other factories in the country. It is no wonder
that Kyoto is now leading the country in the production of

wares of classic as well as highly-decorated porcelains.

sar ee

+e

oe Laie ‘aie tna ee

Rie ae a: ee 9 pao
RG Me eee. CR ea eee: Oy bee ‘te : ghtion ark: siskaeienged q :

: ass es dial cee et Ba TE oe

Be iy ne Sar baie eed y ued as ma “ |
figaee e
HOES Seas 2 eo ‘ Seene “age se

fa : Lace ey a ot q

A de hives: es

a Hee. nt hae At of es pg 3 ret

ig -

Le ant. ole ik

IV--4.

As to the origin of the glazed ware in the province of
Yamashiro, the Yohshufushi says as follows:-

"Porcelains are now made in and about the Capital.
Those that were made at Oshinokiji, to the south of Nijo,
are called Uchiyaki(interior bake), as the furnaces there
are built inside of a house. The factories at Kiyomizuzaka,
Otowayama, ShimosAwata, Mizoro, and several other places,
are making wares of all sorts, to accommodate the varying
taste of the customers. Those that are mecnbiathin ues recent
ly by Ninsei at the front of Ninnaji temple are cated Omu -
royaki. They are often painted by Kano Tannu or Yeishin,
something like the so-called Mokkei-bowls of China with Mok-
keifs carp-fish paintings".

In the days of Hideyoshi, when he was in the Shu-raku
Palace, Sen Rikyu (Hideyoshi's tea-master) sent for a Kore -
an potter, who made some tea-bowls either in red glaze or
in black, with the character "raku" marked on the bottom,
taken from the name of the palace Shuraku,.and thus called
"Rakuyaki". This Korean potter, was named Asa-jiro, as one
of the two characters representing "Korea" reads "Asa” in
Japanese. His descendants used to make some Rakuyaki about
the Shuraku, but their works are much inferior to those of
their ancestors.

Kiyomizuzaka is on the western foot of Otowayama,
about ten cho(14 1/2 cho make an English mile) to the

east of the Heian palace,

hee VI . ela | |

to sonivorg eslt mE o1sw bessfs oft to abgito edt ot eA
_ sfewollot os eyce tdewtudertoY ent .ordesmeY
sfatiqed edt tyods bas ni eben wor ets antsles10%" D
,OELU To rissioe ernt ot etttMfoatseo és eban stew saclt saonT
erent sesosmivt oft es one rolredat) ifeytsot Bettan ets .
SAssysimoyid ts agitotost ont «9euyon 8 to ehteai titsd e1s
,2e0sfq tetto: [sisevea has lorosilt ,ahewAcomist? , smayswot0
galyvisy ond ote boumooos ov ,atioa [fis to esitaw pattem ets
#ne0e% beivtostunam ets dent sani .erehigdesn sit to steat
= umd bettas S18 tine’ ELsrnrt to snort ortt te Eeenitt yd ag
, tine isy “0 uneT one ed betntsq ‘nedto sts yedT + tleyoy
-WoM cigtw snaidd. to alwod~tesioM belfso-ce oft ett giintemoe
| : ee . . «“agnitntsq deft-qiso al tool
inlet=02 off mi sew od neslw ,fdleoysbit to aysb ont aT i
~ St0X SB to? tase (Hedenemaet e'iseoyshih) wwii nee ,9osfst

0 sxsig bet ak teitte alvod=set ence sham ow ,tettog ms

gmottod ont nO bexttant Sent ss" retosrerto ert dtiw (ennts nk
bellso ess ‘fine: Pee sented edt to oman, ant 0 metss.
ono ag ,o1t|-aaA bomen asw aettoq mssto% eataT ."*bleuniel"

; ni“seA" ebsst "soto" gai insesrget arstontesto ‘owe edt to

eet faisyudeh Sue - exam ot been ainsbnsoash ath: .sronsqst
to szond of. De ol fovn 81s arow ited turd , letete ony.

ees

; Bs Hotssons: thoedt
-sihaenienty to toot svete eit ao at laeenenal |
oat oF (elim Hotigat fe. alas acto S\f dLoro net tuods
. aobiarog. stot onte, to tea |

IVe-5,

*:

Shimo-Awatag is about eight cho due north of Kiyo-
mizuzaka.

Mizoro is about one ri and a half (1 ri is 21/2
miles) to the north-west of Shimo-Awata, am about a
ri toward the northeast of the He ian Prsorh gato),

Ninnaji is about twenty cho northwest of the Hei -
an{ Pusu Kyeta)

Tannyu, son of Ukon, and grandson of Yeitoku, was
called Kisojiro when a boye His later name is Mori-
nobu, but he was more popularly called Uneme. In
the thirteenth year of Kwanyei(1636), he was created
Hogen(an honorary title of artists) and appointed su-
perintendent of the Art Bureau. Later, he was rais-
ed to Ho-in(another honorary title of artists) and
Honorary: Minister of the Imperial Household, in the
second year of Kwanbun(1662). It was about this
time that he began to call himself Tannyu-sai. Hip-
po, another nom-de-plume of his, was conferred by the
emperor. He died in the second year of Yenpo(1674)
at the age of seventy-three. (By, Gwako-Benran).

Yeishin, youngest son of icone and grandson of
Yeitoku, brother of Tannyu, and piieding lat of Kyuhaku,
was Yasunobu by his real name, but popularly called
Gecvraten tau later, Ukyo-no=shin, He was made Hogen
and Honorary Lord of Justice in the twelfth year of

Kwanbun(1672), after which he called himself Bokushir

s68VE > : =] : : ae
_

~wOVEN Yo nitton eub ‘onto tagie iyods ef @stewA~omisde
Ni-S ef iveL) fed s bee i ono- tueds ab oroskl
& tiods fms ,StewA-omigs to taew-rdsen enideod (eelin
Gey Loaf pastel sit to tesedjiom edt biswot 21
o foHvortt to teewsirton orto ytnews tuods et tisantt- j
| (hop ALcouT ere
aw ,wtotley ‘to foe brag’ ‘bas prion ‘to moe ,wynnsT
-ttoM at ems vetel efH .yod s new o1ttoels peliso.
eet 2 anion hint yinteluqog stom esw ol see ,Gor
betaexn Baw: srt, (dear) Levaewn to teey Atineet tint edt .
=e betmtoqqs bas (adele to eltkd wietonen ns) aegoH
~eist exw of setsl wee wi tuk end to dnebastntteg
bas (efetive 0 éLtis wtstenod soiltona)nt~oH ot bo
eit mt ,blodeeveH Isivoqml edt to iedataiM yietomoH : —
aint tueds esw 31 =. {S88L)audnswH ‘to 1s9ey broves
~qiH | ,fse-uvanet tleamtd ffeo od-meged od tant omit
eit yd Betistx0s sew. etd to smufq-eb-mon rortons oq
(AVAL) oqney: to “ta9y brioses oft mt beth 6H -» totequs
-, (netied-odewh eet) Setit+ytneve@ to eps oft ts
to noabasty bre pot %6 noe téegnvoy ,atdetsY |
gaio@t Yo walent-noe brs. sean Yo toiido7d qinlostoY
he fl Tag ere taas tud- + OLA Leet abst ye adoauasY esw
ween” aban anw “oH, a fthife-on=oyxtU agtat bas qorttsa ned
to tsey dtifewd ent at eottaut ‘to biol qisson0F bas
| autsiesntod ‘oamte boLtee ot Kotdw setae ((S88L)audnawt

IV- =§ @

sai. He died in September of the second year of
Teikyo(1685), at the age of seventy-three. Both
these artists were comtemporaries of the potter Nine
sei. wy iewekecBeiPard.)

Hideyoshi Kinoshita, of the Toyotomi clan, was
called Hiyoshi while a boy, but at the age of sixteen,
he began to call himself Kinoshita Tokichi. Later,
he became prime minister and generalissimo. He died
in the third year of Keicho(1598), at the age of six-
ty-three. .

The Shuraku Palace was built by Hideyoshi in the
thirteenth year of Tensho(1585), on the spacious grounds
covering from Ichijo to Nijo, and fronting Horikawa on
the east. In the third year of Bunroku(1594), when
his new palace at Fushimi was finished, this Shuraku
Palace was given to Hidetsugu, his son and the then
prime minister. But after the suicide of the latte
at Koyasan, Kishu, in the same year, all the palatial
buildings were torn dow one after another, and the
beautiful gardens were all destroyed, leaving their
names only in those of the new streets or villages
that sprang there. All the residences of finor lords
that formed the imposing surroundings of the palace
were also moved either to Fushimi or Dale Some of
thier names still remain in those of the new streets

and villages.

+Se+VI . aol gel

to tsey bossa edd to tedmesqes@ at beth-eH .fsa
tom. cient “to exe ott ts 2 ( “BBL owlteT
bk a es. to ketierogmstmos euew @teiiye event
| ( suerte fox ewe) va) atea

2aw or imotayoT ant to ,atieeonts ftdeoyebhtH
sootxta to ope ocd tx: tud ,eod s elinw ideoytl bellso
pietal ,teoido? stideonit tLogmim Liss ‘ot maged: od
beth oH - ,omteeiLetsres bas sede tniamsmtyqemeosd: od
-xte ‘to. eas ent ts ere to assy biidd end mi
2 ce LEER E a 2 + peettiteays:

ont mt tdaoysbin. yd df bud 2Bw- scaled yxsiie ert
ebnyotg avotosqe eft no ((288L) onane’? To 1se8y dinsotitsd
no aWsxiltoH paitgort bas ,of it of otidol mort yrtteveo :
aeciw _ (S@@L )snfownuf to te0ey-fiidd ent at - <tese acit
wierd aid _boneintt eaw Imbdest Ja sosleq won etd
edt oi bre aoe ets ,wauvetebiv oF moviyg eaw sonlet
witel ent to ebtotwe edt dette fut stotetmim emitq
| latte Ley sit Ife qiaoy efsa- ost rk udeke ptteseyo! te
ent bos etenitons: taste ana toh niot stew agnibitud
Niet guivesd, bpewtd bid ifs siow eiebiss | futitused
~ pope lliv 18 ateoits wen set Yo snot ae xine a enien -
abot: x0 B20 eonsbies ott LK. 4otedt goarqe tect
soalad sit Yo agntbnimtiwe gateoqint est bemrot tect
to sni08 wsite20. to bmi dart et sesttte bevem goals ovew
atoonte went adit ‘tO: sort mt mismo Atite aomen what
eee | value’ brs

IV---7.

Rikyu Sen, formerly Tanaka, was called Yoshiro
while a boy. After his tonsorial ceremony(becoming
a priest), he adopted Rikyu as his religious name,

He had some other names, such as Soyeki, Hohsensai,
Fushin-an, et cetera. He served Hideyoshi as his
tea-master all his life and died in the nineteenth
year of Tensho(1591), seventy-four years of age. (By &
Yoshufushi). :

(bo

The originator of ,Rakuyaki was a Korean called
Ameya Masakichi. Some say Ameya = the name of a
Korean town, where he came from. He married a Jap-
anese girl, called Teirin(religious name), who also |
made some tea utensils herself after his death and
while her son Chojiro was still too young to take up
his father's business. Those sauce were made by this
wife are called Ama-yaki(baked by a nun), as she be-
came a nun after her bereavement. When Rikyu chang-
ed his family name into Sen, he allowed this son of
Ameya to use his former name Tanaka as his own; hence
the latter's posterity still call themselves Tanaka,
Chojiro died in the first year of Bunroku(1592).
Works of his posterity are also called Rikuyaki, but
Chojiro was the originator of the ware of that name.
He lived in Kamichoja-machi, Kyoto, off Nishinotoin

toward the east, on the northern side of the street.

ee sheleg a
aVenenVi ie ee
a

. otni oY be flac. aew shenet yLvontot -, 192, soles

gittmoosd) yaaina x90 faksoanod aid wettA stod) &. eltndw ..

+ ,omen avotphiet eis gout batqobs: ad, ,(taoirg.s

_2s8eme8 oH .tdexoR ag doves ,@enen reitto- omoe batt (eH

_ etree tieoyebth beviee eh © .aietes’ ge. eHsrndstens

- aitnostonia, ent mi both bas ari t, eis tie ieteane2od.

we sage To ateey sHokwvitae ves 44021) oxeno? to tsev.

: pede ? + (Lelaatusteo¥
be fiso MOOT | ms BBR. ys ibtarcent ally Bo sodsntgite. ent

& to oman eat ait BONA YSs ento? siiotclegew BYOGA

| ~qal & betvien of tiott sites ot er reny 4 Awod ‘nEet0%

eats orw., (omen quotgiiex)mitie? beliso fattn ogens

hue sitseb- ite ‘tetts *{leated elteneds set emoe eben |

qy aught ot anor, eine fikts: asnw ont pond 08 resi elisw

ett yd ebsa etew gedt ceorT. jpeontend a*yortst aid ;

«oc eta Be « (nse: i) we | petted ioley-ama beiles ets stiw

~giterio are fe: nes .tromavasted nod "t9tT fat & eMBo

” to. soe. ‘petit bewoils od re, otmd oma yliaey eid. ho. -

sonert awe als 86 atanst ome yeu7et eid cas of Syega

ssoleeeT nevileemeds Lise Alite yskseteod aliettel edt

oo (SCA) informe to SON text? edt at. both ort tom

ud Eoancantesl belles. ola sts ytiyedaog. eld to aaxoW

omen tant to orsw ont To ‘rotanta tro eit dem ort ios

; ntotontiatie Ato. OH, tioamesiesioinek. mt bevis oH j

steorte vant hte anarisros ait a0. nineene biswot ms

Iv---8,.

"Sho-i-yaki," says the Bengyokushu, "is made of a pink-
ish clay in various shapes and glazes, and it has a nice i-
tokiri and beautifully shaped mouth... Some tea-jars are e>
pecially fine".

According to the Chado-sentei, So-haku and Sho-i were
both oculists and lived in the days of Sho-o. Chausuya Koe-
hei lived in the same period.

So-naku must have been either a doctor or an art
ist, aS we can guess by the name. Anyway, it seems
quite certain that he was not a ceramic artist by his
calling, but made some pottery simply on account of |
his zeal for tea-ceremony.

Chausuya was a maker of powdered tea, as is im-
plied in his name, but made some tea utensils for cu-
riosity's sake. He seems’ to belong to a little lat-
er period than the other two.

Sho-o Takeda, shishiro by the popular name, was
the honorary lord of Inaba. He took very much to
tea-ceremony, of which he later became the greatest
master in his days. He died in October of the first
year of Yeiroku(1558), at the age of fifty-three. He
sometimes called himself by the pseudonym Ikkansai. ;

The tea-jar shown in Fig. 1 was made by So-haku
with a wheel, It is made of a greyish yellow clay
and coated with a dull dark brown glaze with yellow

aNd brown spotse The coating,which is of & medium

sdntg 8 to ebsurake ~Urieuioygaed. oft avcei", blateteenar
=f aoin s eset dt hae ,2eselg ‘bas eoqete euoltay mt velo det
48 ote etst-aot enioe siteheom alists viivtttused ‘bre frtaot
7 . | by “ent? ylistoeq
etow kore bas utsieo2 ietaessebasd ait of aA bI0ooA
“or acvrenent sO-0n2 To eysh edt at citi bres Stettves diod
3 "Botte ‘emee off at pevdh ted:
+18 NS TO eee B restate nd oves teum misd~o8
amsoR $k {vawrunA ,omert ent yd eaeng ms9 ov Bs ‘ teat
ate vd dative Simeteo 6 dom-eaw’. or tas ntettes ‘ettup
‘fo Invoook 16 “fiqnia eiatiog smoe shan sud yantileo
serlomete9 894 yet fses ett
| ~mi at aa ,e0d betebwoq’ to “‘texem 8 eaw suretard
“89 to} elteneda aot emoe shat tod yonmer ein nt betlq
+tal elites 8 ot gaorod of “ampoe ot “.exee atytisoty —
| sow? terto ent aedt botreq 16
aaw {aman Nakegog exit xd oxtde ida psbslal ood?
of oum yis¥ Loos eK 4acienT to bYOL eTstomod ont
testacsy ort eieotd-nadied ont” Hokdw To, esomerteg-ne#
tert? edt te sedoto0 34 ‘bekb ak - yeysh ats ne ete sin
of ,ontdiitaysttt to one oat te {(88dr)atorteY Yo 190%
bennett smcroberesa eat ve woamts beliso aewttoniog
wiectao8 yd ebemw saw £+QhT oF wort swhsaed on? |
wate wolkey datyorg 6 to ohaw et 40 + f8eute a sit iw
wolley atiw sesaty mes arab fteb ‘8 AdhW wbed.s0o. bas f
mw ben £4 to et, meagan: meer eee: word bas.

IV-=9 @

thickness, is scarcely Peeeiner es a very mellow in
Clonee The inside is not glazed at all. It is fine
grained, but rather porose. It is neither very hard,
not very heavy, weighing only 19.5 monme(about 1/5 lb.)
As to the shape, it can be called ameared shaker’

The wheel-made tea-jar of Fig. 2 is a specimen
of Sho-i's works. It is made of a greyish yellow
clay and glazed in a lustrous dark brown glaze with
a Slight suggestion of silver. The coating is on the
outside only and oe rather of A medium thickness. at
is fine-grained, hard, and of & medium weight, measur

ing 19.5 momme(about 1/5 lb.)

WAShinbeiyaki, made by Shinbei, a rather famous
modern potter, is made of a pinkish or sometimes
Peltouecie and coated with a light brown underglaze
with yellow streaks. The overglaze is of varying
colors. Its itokiri, mouth and general make-up are

very good. Some really fine ones are often found.

Among the Kichibciyaki, wares made after the Ko=
Seto styleg are the most important weres and Waseem
made after any other style are usually of poor quality,
-and hardly worth while to pay much attention, though
rather popular...

Neither of the Chausuya-yaki and Genjuroyaki

nk wollen wiey v0 Seanad yloownse eb soaomioiss |
ont’ at: el afte. te ben als tor hi obtant en? \enod 4
. ried yASy reditton ok dT) .2eotoq +eattey rer puaannty
(oes ar Fubtivelanes e.eL ‘eine githitgtew ‘etwbed visy Fon :
“soxteda botesas. boftne ad nan tt _# State ‘ent of aA
| nomtooqe sat & satf te tetess* sbiameLoesiw edt
wolLey, de bys & to sbat e232 ‘seutow at Eeosia “xo
dtiw exely awortsd itab fetal hahaion F ‘at bosaly fins velo .
edit no at aniteos ent bie stevia ‘to notieeugva tretla Fs
Mie. -egomlo ins mu thon A to teitat et’ ‘brs ad ebiatao
ssasem idgion mug bom $f ‘to here _btsd doakergeoatt et
| (.d£ ae #0chs) oman 8,OL ‘gat

“ayant nonitet wi, badande vd ebae so TAY
-gemttenos “6 ‘da tolerte, a to sham et Sila mrebont ©
exelgiobns awoid fio ti « adtiw hatsos bors gate ‘wo Lloy
Bekyiay 0 at osalg evo, ot, selaorge woller attw
ome queextam Sereneg Gite siduom \ Pulsed eft - wenolos
bao matte ore: sam eatt cake emo | pein

\

“02% est 19tts shane a9 tow ybinceoitttont oat + gn0mA
oatid ot na aes tastnagat te08 ont 91s gerete osee

aes

eutiLeup ‘xo0g 0 vitanke ore siute, xotto. ie setts bien

rpwoas caokdnetéa soa va oe iad atrow eibsat al
an a 7 on n a “ta et P 7

IV-=-10 @

is so impertant as to be mentioned here.

We often come across tea-jars called Mannyomonyaki of
various make-ups, but usually they are rather poor in their
materials as well as in their itokiri and general make-up.
Moreover, not being any more than fifty years old, their
silver eee ae is too lustrous and too brilliant, and makes
them look all the mee ugly. But then, there are some
rare freaks, so to speak, which a connoisseur may mietee
for a piece of sone other make. (Ry Remeron a

Genjuro, Shinbei Urai, Kohson, Moyomon, Kichibei Bessho,
and oO OE, lived all of them in the days of RE
(ey Cnade-sentel).

Of the six above mentioned, Genjuro lived in a
little earlier period than the rest; then comes Manny
omon,; as to the remaining four, some books say they
lived about the time of Yenshu,.

Kohson must have been either. an artist or a
doctor, judging by the name. Whatever else he was,
he was such an enthusiast for tea-ceremony, as made
some utensils himself according to his own idea and
taste.

Genjuro seems to have been an excellent hand in
the use of the wheel, but the scarcity of his works
makes me think that he could not have been a regular
pottery-maker, but simply a tea-enthusiast like the

others.

ie: #
ra ae iv i us 2) es om i
be tae ¥ ant F 0 eee ;
; a ie al y mi i ae
OLE ‘ .
" : me, ao ; -
‘ ~~ = Pan

| » ore bean ?irem od 2 as daatvoot oe at
to tala ctomorya nal befisa etst-aet gaot9e BO n94%0 ev
‘keds oat xo0g sorise4 sts ved vitewan tud + 2eqs~onken evolisv
» Gir~aX sat Leionsg brs bitaost hotls ak es ILow a8 elsttst sm
“ak ontd ebLo 218 9% witty nad? atom Yt gated tom (Tevost0ll - -
sersit bas tnakLitad oot bas avorsaiis oot at antasts tovite.

SOR SIS stents eft it | Ytau e"t6us ‘oat Sfe woot srect

sisteio yan teen tons a sloldw eiseqe, ot 08 i¥hee%8 stst

-(wiianinboygnadies) od am ‘teito anoa to sasta 8 ‘tot.
piesel tedidotz omoon Haetor , tex fodnisde (OTS Ln
ante ‘to icra bred ss mostt to ‘ite bevit , comoyanel bas.
, ¢ fit Si
8 mt bevil orn iaBo Sencha ‘evods xe oft tO
ajnieM asinos assis pteey ‘ost merit bolting tet Aaae elitist
vos ‘aa eood onve aeniet oral ota ot 8e jp toMto- 7
wens ‘to amit ont sods ayer
a to geiste fs xosldte need over Pama noe doz
‘88m pnt sate revodad seman att vd antabut a10to08
bam B68 wroMeTeON cot 0% taateudtne ns ove Gant od .
bege sobt nwo nwo ad ot autswenos 1Lommbet aitenedn -omoa hs

‘ae ds ie ie "pe LOTTE aes Wi eeeR et
ab, baad $mektnoxs na used event ot amesa owigasd
_alrow peace ial foe ent Yovlsau oft
atoms cman 6 Filia Sloe oat deste genesa a

SS

a

were made at. SniRb=Awate, Twakira, Bobosatau, ‘end Ake s ~~

| ie eMloaii bdeeasies tad Fag a°adgNAy ere

tat

alien ke

AY id 7
Li F
* #

. 7 ee ee ee %

oF baie ont and P% OG ses SORT SURO SERS to
anid ge EY eth ditets Ube Hee SEY Atak PY oo etic |

é gg BIE" Ltd Marea TANG A,

ela +3 sid Yee fond WEY BLP aes F Wied Wily aE

h
+ er
we

s VSP Cent PAPPAPS IPP BU wt Bedeass APUG ERE, on’
ROPES the Die Aiiee BHAT Vee hie +

| BMS "GP Sai SSW ot POM! SESE HY cow
Bit ito ai dit YO eaod? Stile Swed?” A Seva Meee”

F ‘the ¢lasete roughness ae BO APs Pe dae AS iy
* webleadein of? % Sie Tadd ndiiSdetalt YS Jhrsw 2
we Senay “oeewer act yt tte Hs 'Pinaveee we wet “Sdt bas

| Mash 8g Fs ‘ew’ Gages aisbe +2 Be “Paredes

er (dbase 2 “ Tre Une sant itso ions xd ats

MBB BOERNE ad Sal EASES Nis beds CRETE
| thon os eetsay! fs sa kg ‘fe tg Be oben ab PEO“ Se saiy
| _bives so °8as"Plub okt a P fete Ie Hold WES s Pie BSt,
) Et wag Beibes BBLEGHs Bad ABM Ht aided va. Sey
ant Bag uEaer Bad TPE Bente

‘(adtied papey.., ‘Shea SRoaLa46-Eaa Rage wine

Ser eerie ar ee ent ee
i ot Sehhakys soa bis Sanda AbsMa ae PRde BH ons SYAS 1bAFS i
| Beskgay POA PEP Ras Us ode “tbo TPE 86EB eee

Siva °H) Abn SPER Ee 0 PREP

atbabiaa

MP is Mes sie

IVenell ®

Works of both eninnes and Moyomon have so much
of classic refineness about them that I am inclined to
think they too must have been tea-ceremonists, who
made some jars only for curiosity's sakes Both of
them are said to have tried their amateur art at Ime
be, ,Bizen, on their way home from a pilgrimage to Kon-
pira of Sanuki. They visited Shigardwki and did cone
works there, too. Shinbei's works have the character
"Shin" marked on them, while those of the Moyomon have
only a cross for the narke

Works of Mannyomon and Kichibei are Pe ee cares
and the few in existence are all in the line of tea-
utensils. So it seems they too were not pottery mal
ers by their calling.

The tea-jar of Fig. 3 was made by Kohson with a
wheel. It is made of a greyish pink clay and is cow
ered with a greyish brown glaze, rather dull and o#
paque. The coating is thin and applied on the out-e
side only. It is fine-grained, soft, and light, and
weighs 24 momme(1/S5lp.) On one side near the top,
there is a single wave line in dark yellow and on the
other there are two spatula marks near the bottom.
There is also a streak about the top. ee of pine=
tree-needles like fis marked with a spatula on the
bottom.

The tea-jar of Fig. 4 is a specimen of Moyomon's

D[Ve--12 @

works, which was made with a wheel and a spatula. It
is made of a clay of thé’ regular earthenware color,
and is coated with an opaque glaze of bluish yellow,
very antique in tone. Its inside is not glazed at
all. It is fine-grained, but neither very hard, nor
“very heavy, weighing 40 momme(1/3 1b.) Around the
bottom end, there are some angular marks likes and 1,
engraven with a spatula. The usual cross mark is
found on the bottom. Asa thee: it has much of
the episaic roughness and so one might say it was mace
by a novice. The shape of its top is what we call
“‘shaj iku'(ahub). Judging by the smallness of its
Meu Gees seems to have been intended for a tea-shak-
ere ( Lf tee | eae Hey
_ Ninsei, according to the Chado-sentei, is a contrac-
tion of Sei-suke of Nin-naji village. The Chaka-suishu
gives "Seiyomon" as his real name, but another book says
it was Seibei’ Anyway, he belonged to the Fujiwara clan
and his surname was Nonomura. Fujimasa was his more dig-
nified name. About Shoho(1644-1647), he became a priest
and was given the title Harimano-daijo. He was a pupil
of Sohhaku. His earliest works were made somewhere near
Seikanji dnd Otowayama, but his later works were made at
Ninnaji, and are called Omuroyaki. Then, some of his works
were made at ShiXo-Awata, Iwakura, doeelaren and Akashi,too.

He lived about the period from Keicho(1596-1614) to Sho-ho

; ao. 2 % 5 ; . my ae ot
. ie a P 7 7 wu
a ¥~ aa : ‘ ai

# slut, «tp Spade 2 ee |
of CORA PPA, BERS At Ao wale. 30.9088 af,
cre EE tte assets NpAIO, 18 Ady bactgoo wt, dus
oad staat Lo i BH PARAS. PAX 5 AAO tah. sup tine bad

OH, usd choy sedtton, SHG shentetasagty at th, wife
ye AE Ba FA. Gade. &\0) 2umomy OF saida ten. .xvaed ev
Thay ALQIEE 2 tam, pe tumae emoe.ots arent hme mot od

wori8t obyam saqxo Lavad ent, , atutete 2 ditw severance.
Pgh iO ooare es tt, 2 Lgatve 18 24. ceemotiod edt. .20 Payot
ba asy tf Xae Jit Ga »2GR. 08 bas easnrigyot oteasloa att

f1e9 9m teaty ed. Abr? that e RIA oF. aabyog.g vd :
sng ttt Ae sgeathoma od? vd gytehul.,. .(guiglintt iede"

| ines Ag ir Ponaal eye oR He a8 am Ee gs
era by their tall toned ae ee cles: i ;
~oatiggo 52h ,tetmag-obadty oft of aqthtooos gteaatl
Milakva-stetQ oct... gongtity tancath Tapenalsy tg ,cets

_f¥e2 Aogd, tesitoaa, dud ogomen feo ett ga. taemgyseg” eavts 4
fake sromh eh edt ag? Roageked.ecl syaryas on “pdtet.caw $ mA
“ath P39, atdesy.cqent iat. . ..eumongit Wak 27apete akg
dazing syousged (ees (T$9L-p89Losiode tugdA ...ougm bottin |

" ASINT Sg BST sobbsbrogamt eat p+ titi 3c". 9e7ha fey 554
Teo oredwamge obs S79 BT IO7, fa2b lage afk... guplerido® ay |
of8.959m gt9y ator aJnafoats tut, aBeocets? bap gingete?: |

LEE RAT eFe BAO ig nb tgye Hee, 2 tgs RTs Rasen kt Racket ,

“eeteattaty bits jentnenti Elana 18) SWA-OAEAE as eban e198

acne ee staat itviacbers om

IV--13.

(1644-1647) or Ketian(1648-1651). He used several differ-
ent marks on his works. A round cornered square with the
character "Sein inside as is seen in Fig. 6( (8) ) was used
before he called himself Ninsei. The elliptical one read-
ing "Nin-sei" as is seen in Fig. 9( ff) is fairly ee

and is called “dai-irl(big stamp), while that of Fig. 11 is
quite small. In Fig. 7,both characters appear in about the
same sige, but in Fig. 13 the second letter is a little
larger than the barat Works finvaned in a glucose-color
glaze aenetiy have this latter age In the soecalled So-
wa stamp, of which there are two sizes, the left side stroke
of the character "Sei" is slanting a little toward the left
These stamps are believed to have been des ag by Kanamo-~
ri So-wa. The mark as is seen in Fig. 14 (Up) is called Ship»
po-in(cloissonne mark). (A&A) is a conventionalized form
of character "O"(+.) and( ) is that of character "Yama"
(us ); the implied meaning of these two characters being "O
uchiyama", the imperial palace. The mark like(@) lackir
the slight dot on top is called "maku-in", Gees lat-
den marks are found on works of his later period. Those
having the Shippo mark are usually very handsome. They are
said to have been presented to the Empress Tohfukumon-in,
Those having the Maku-in belong to a later period and are
very good in their make-up. The fire-boxes, tea-bureaus,
flower-vases, tea-bowlgs( in set), et cetera, that were made

to the order of Prince of Kwanshuji have his marks engraven

pe a a ee

19+! Rllerenne boas of .(L89f-85aL) ashet so (ThOL~b83L) —
ont diiw orsupie ‘horvento9 feat A ratio aid mo sexism tno
boas asw (We att fal toee at was shana (“is8" totosterto
~best 9110 feoksqElfe: ont sg taweeett + Leama batiaa’ orl atote d
agisl vitbet ab (fy) .att mi aeee ai es "“ise~ni" gant

at if .3ht to dedt eLtaw ,(qmsta gid)ht-tub* bettas et bas

eit tucds ai 1s6q¢s aresostado Adod Vf ott al of S6t8 etivp ~

ofttil-gat tettel bnoose edt SL salt nt sud .eSte oma
toloo-seooulg # af benalalt axioW etait? odd masts tos tal
-02 bellso~oe out nI .dtter tottel etdt oved witevas analy |
etoife ebfe dtel ent ,29ste owt ots otent dotrdw to + Tnets SY.
stoel ont brawod olttil s.gnatinslea et, "ter" tesos tanto oft To
-omantal yd abd ovis nsed ovat of hovetled o1s aqmaa oaenT
eqide beifso at (gi }at gat nz neea at es Atsm eAfT —,aw-oa ft
mrot besilenottasvdos & at. {&) . (tas snnoaetolo)at-oq
*ems¥" tetosnads to tect at ( w Thue ¢ 2) %0" tetosrado To
©" gated atetosisdo ows sasds to gitosom botiamt, edd i{ wb)
abstoals (gs Joxtt Samos ¢sosteg Letrequt edd , "ameytedow
~teL ows gaodT 4"ni-saau" belfeo af qot ao tob(tedatia est
eeodT | »boited total gée to atvow no bawot ors edism tod
Sts! “gait oe baat erey vilowars 91s area oqqida ent ‘gatvad
sni-nomunisttsiot ceed oad ot betmeesiq moed oved. ot bites
e18 bas -boixeq tedel s-ot amotoed mtsuptedt ont pnived eaonT
,eusoind=set c2exodmettt pat. aqu~aal em atodd at boos yisv
sbem stew tadt ,ateteo ts itee- at Jepivodasod eboesroT9wolt |
HOVETSAS sa ald are: catia rt aaah. to. 19b+0 edt ot

a, A th
yale

‘ ot a 7 te ae i . ;
yy Me ue he PAY 2 oa eset tee i J
Re cay: Leen ae re ian =
aad ena. eae) Pree er mee f a or re ee a

IV---14,

with a spatula.

His tea-bowls and water-jars were usually painted in
indigo, brown or in gold, of which the gold-painted is the
most prized. Water-jars and waste-bowls are made either
of the Shigaraki clay of a whitish clay, sometimes finished
in the same glaze as that of a tea-jar. Water-jars, the
designs of which are supposed to have been taken from a pice
ture-book in the emperor's library, are rarely painted in
indigo. Some Kinrande(gold-painted with a brocade effect)
were made to match a tea-bureau, but they are very rare.
Incense-boxes of battle-dore shape are painted either in
gold or in brown, while those of yeboshi(official Headdress
of old) or egg-plant shape are only in brown. Some birds
and statues are painted in gold, while I have seen a stork
with colored designs on it. Some ofakagamimochi “shape (flatm(ag,
and convex) are either white or black. Most of his utene
sils are simple and classic and very rarely finished in
geld. They usually have either the Maku-in or the So-wa
stamp.

This famous artist of the middle age manufactured cee
ramics of any style, except the seiji and the stoneware, to
suit the taste of the different classes of people. His
dar Pode rs thie like those of Genjiro in shape and de-~
sign. This latter, usually of Kano style, and sometimes
painted by Tannyu himself, is in indigo color. Those of

intermediate periods have some Kano style paintings done

| | -elutaqe & Atiw

nt betoteq yflavan.axew arat-tetsw, baa alwod-set eth |
| ett ef betntaq-blog ast fotdw to blo af to sword optbhrt
tedile. sham oz elwod=9te aw bees. stej- Tete ; ~bostia.teom
bedeinit semttemoe ,xelo dettidw s to yslo Distagtse, ent to
ont ,atst-teteW ~ .1st-s0t @ to tent es esslg omse ont ad

“ota s mort redted need sved. ot pesogque ans no kelw to anmgtaeb

ni bedatsa Yis1sl, ete. a tierdbL e'yo'rgaqme edt at. dood-s10t

(tostts ebsoord & attw betatsq-bloyg) shbasiath emod eog tbat
218% Yisv ote yeds sud pusetud> set s dotam ot obam, stew
at reritte betateq sts eqerda etobe-eltited To aexod-eansont

seotbbsel’ Letottto) tdeodey to seodt: oftrw ,awoid mt to blog

abtid 82508 snworuf me weno ets eqede tasla-g99) 10) (bLo. ro 24

arota s. ased ever a oLtiw. | , Log ak betateq sts aSusese Herve

gid aft) eqaite™ ioomtmagat to. ‘omo8 4 ati ao aagteoh ReroLon: atiw-
anedu. eid to -JaoM. woald 19 otiudw teddie ots (xovno9 brs

oh. bade inl. cLors1 yvter. bres ofessio bas alqmia ets alte
mnt) oats to alewiasM ont ioritke vin vfisves vont a bLog
. squiste
i499, hasan egs slbbia sit, to deities axons ataT |
ot iswongte ent bas, kites ott, tyaoxe polyda yne to solmer

' ait _ seiqosg to agacata saoratt bb out to staest ond diva

ivr
ab bas eqara. ‘ah: oni ined 30 esont oXfL sfosm orgy tactixss |

semitemoe bas_ olyie. oneX to wileweu , edd at eidT .nyte

‘to eeodT . stoLloo. osibat: at at Tisemis syanst. a betatsq

snob cpa tito, ahise. Lica ene coved abotyeq etsthemistat

=

pay a 7" LB ah +

“‘

fi 7 i A 1a ~ a i
ie allée : <m Os : , ay rr,
aig Re he in te hati Ae dirt eat me? all eet i ee

IV---15.

in colors, but some of his later works are painted in Tosa
vga ) |

: It is often said that there were two other: Ninseis, the
second ‘and the third, but actually there was only one Ninsei.
Such pieces as are commonly attributed to the so-called seo-
ond or third Ninsei are imitations sites ene or another of
the Kiyomizu or Awata manufactures. Decorating the ceramic
wares with colors, such as gold, blue, yellow, red and black,
was originated by Wankys and Ninsei, sometime after Keicho
(1596-1614).
| Ninnaji is so called because there is the Ninnaji

temple in it.

As to the popular name of Ninsei, opinions differ
and it can not be ascertained which of the three, that
ise Seisuka, Seiyomon, and Seibei, was the real one.

The Temmangu temple is said to have a candlestick,
an incenserburser and a vase, which have inscriptions
on them reading "Nonomura-Harimanodaijo-Fujiwara-Fiji-
masa-Nyudo(priest)-Ninsei", his full name. But on-
ly the flower=-vase is genuine,the other two" having
been broken and substituted recently by Zengoro.

I have a tea-jar of Ninsei, the box of which has
an inscription "Keicho", written by Kanamori So-wa in
a very sacerdotal style, looking old enough as to cor
vince one that it was written at the time. Corrobo-
rated by the fact that Ninsei was a pupil. of Shohaku,
this inscription induces me to think that Ninsei must

have lived aboulthe Keicho period(1596-1614).

4 8L---VI anal

seoTt mi betat eq OB ext0w tetel ald to enioe tad ATeer? mt
| -olyte "
edt ,stoenth\ resto mee e1ew oteit tatd bise neste at tI |
eteant eno yino esw arocd wWisutos jud ,bitdd edd bas bnovea
G90 bo flao-oa ans ot bhetudiriis vimquates S818 85 sooetg ove
to tedtons ‘to pick aa anotésttat eis teantt bridt 0 bio
olmseiso edt gatterwoed <agtad oetirmam atewk to usimoyin ent
stosid bas bor ,wolley suid ,dLog @s tioue ,2tofos nitw gotsw
ofotet rotts smitemog , teanttt bas apineW wd betaentatio asw
oye ‘ | ( beat-acar)
thenatit odt et etentt pecaoud bef {iso o@ et EL scoitl Pie 3
oti af olqmes
tettib enointqo ,teent@ to omen taluqog ent oF ak i
teit , sends ett to odie bentatie.as ed tom ago JE bas
.on0 Lae ont sew _tadts2, brs ,ftomoyied canlura toe AL. ee
otteetbaso 8 9ved oF bisa et elqmot sgaemmeT ofT
anottqhroant overt doidw ,9esv 8 bits semud=9engont its
i (iT-stswi puto Ltebonemtish-erwao0n0ll" athe mont 10>
“1X0 Ht omen Liyt ets Mtoe nti (teei1q) obywyil~se.an
gntvatomt oso. od? eatunog at gasverswolt edt yt
sotogmes, ud yltneoes betusitedua bre neiord aged -
cai Hdotdw To nod ony efoantl to 1si-sot 8 evant I
eth aw=08 tromsnsa xd nedtinw , "oslo tex* aotsatreant ns
#100 oF 288 Aguone bLo gatxooL otysa Istobw58a, yey 6
~odo'109 enti? oft ts ettinw aew +f san ae soaty
wlecdone to tau s eae teenth tent fost oat “d beter
pa ine nkM $ estt Antsts ot om avgubat noktqtroeat ered
| + (btas~oeet bo byeg onotex etd Tons bovil eved

Teen oe ea ae
Y - ; : . A . a Hh ye ee ae : 7 ae AA | “f
' 1a on th J ‘ - 1 7) oa gale a =a i
et ¥ a ae ald ae Tu 7 mo a vy ee athe -
fi i i mh by a ew , Pe el ‘
Pe Leticia Wed pa en RA as eee

IV---16.

Seikanji temple is to the south of Kiyomizu Hil,
on which is Owata.
Omuro is but another name of Ninnaji temple.
People used to call it Omuro in honor of the ex-emper
or Uda, who retired to the temple after his abdication.
Later, it. became, the real name of the locality.
Iwakura is one ri(2 1/2 miles) to the north of
Mizoro, and northeast of Kyoto.
JAkashi is in the province of Harima or Banshu.
Some old porcelains having marks reading Rakuto, Rake
hoku, Mizoro, Ninnaji, Omuro, Iwakura, Kinkozan, Seikanji,
Otowa, Awata, Akashi, et cetera, have been selling at e-
normous prices, at the hands of some crafty merchants, but
they are all sheer imitations of Ninsei. "Rakuto" is
the stamp of an Awata potter, wh®O lived about the same pe-
riod as Ninsei. "Rakuhoku" is that’ of another maker, who
lived somewhere near Mizoro about the same period; and s0
- is ruszorot(E ) Jes Hozan of Awata is using this latter
mark on his wes nOWe "Ninnaji" and "Omuro" belonged tc
some Ninnaji potters, who lived sometime after Ninsei.
"Iwakura" ( ()) belonged to an Iwakura potter, of the same
period as Ninsei. "Iwakurayama" ( é ), in conventionaliz
ed characters, was used by a modern <a of Awata.
- "Kinkozan" was used by an Awata ceramist, of a later period |
than Ninsei. "Seikanji" was used by a Seikanji potter,

- of the same period as Ninsei. Recently, somebody is using

ELEN watmousN Yo sdwed ett of et alqmor bynaxtee
| eras heen »stew0 et sto t chw, cal
.slqnet t best to omen tostons tut at otmmO
seoneée sit to rome mt om St feo oF ‘bean efqood
snottcothds etd rette efanet att ot Boxter ost ,8bU to
wtilseool oatt To amet: igo ons susoed JE , total ” }
to dttom ssft ot (setim \r S)24 eho st siuntewl .
_ setoya To tasedtion bis. ,otostl ~
ofeie ast ‘o gmk wel, toe sonivoig’ ent ni et Edie sala
«nies ,osuaieA antbact adiam anived antslooi0g bto nnDS

etlasilien ,AeSoMKlN , stuxtewl «OTE ettannttt (ors itor:

“2 ts gniiifies med oved psistes $5. ,treewA | atewh , Bword
tud) pa tnado tom eitere: emoa to abned sit ts aso avomton
at “odmlea” »toanti to whottedtat 19 9fe ied ste yodt
78g omen ont tO ds) bevel falw ¢testtog atewh 8 To guste arit
orfw , texlsir resitoas to: Ssdt ef "wlorinisi” “.teaaki es bolt

oa bre rhokneg omse oid dyods oxosiM teen eiedwettoa ‘bovil
qetdel aktit anata ak Stak: to meso os novos ie" ak

of begmolsd “on™ ‘brs *tLatakne | swoa aatsw ato no stam

»teentt ratte omitessoe hewbh astw ,etettog tisanit moe

enise edt to, ptedtog sunset te ot begnofed: (s) )"aunlswt"
<tisnotsnavaos at ef ry Vamsysruniawl* _ steantt es botreq
. .stewA to: saanodaty mrobort 5 ud boay saw. aretosr assis bs
- bobreq | ‘rotel 8 to tatmer.9 STaWA Te xd beay saw "aesowntx"

stedtog tinsltee s ve beew aaw "Etnaxtoe® 3 steanht edt

gitey at Vbodonos saint * -toeatit as ar “omen we ‘to

rr awl a 14 | in i
Dot -,fe7. 288 wae Al Tae lad elif SiR OR

Dee ee =

IVenreL7,

a stamp like this ff) reading "Seikanji". The owner of the
stamp @), reading "Otova", lived at Ofowa at the same time
as Ninsei, though a modern potter is using this same mark.
The conventionalized "Awata" was used by an Awata potter of
the same period as Nin saa "Aka shi"(28was the stamp of an
Akashi ceramist of the same period as Winsei.

Kanamori Soh-wa, otherwise called Shigechika, was
a son of Nagach{d. He became a priest in the nine-
teenth year of Keicho(1614), and died in the second
year of Meireki(1656). He studied tea-ceremonies unm
der his father. <A® first .he lived in Kyoto, but late
er, ous to Kaga as a tea-master of the lord there.

O-uchiyama means "the imperial: palace", and Nin-
sei used this as one of his names, because Ninnaji
was once a residence of an ex-emperor.

To-fukumon-in is the honorific name of the Emper
or Gomizuno-o, daughter of Tokugawa Hidetada. She
was @ pupil of So-wa in tea=ceremony.

Kwanshuji is in Yamashina, of Yamashiro.

The incense~box of Pig. 5 was made by Ninsei, but
does not have a stamp of his. It is,hand=made piece
of white clay and mmewiah where yellow glaze, lustrous,
opaque, and crackled. Its mouth, inside of the lid,

and bottom are not glazed. It is hard and fine-graine
ed, and very classic looking ,pieee. It weighs 16
-momme (about 1/8 lb.)

MVE ont

ed to temwo odT . ."tinalted” yatheorfll atdy oxtr qmate s

omit emea sat +2 swot0 te bevil ,."swi0" grtbset (anata

tam omae atdd-nateay ef sattog rrebom & Hguosit ,teenll es

TO ‘todtog atswa tie yd bean asw “stswA" hostLenottnevinoo’ oft

ms To ams.i2 aly eam Ey yredteata® . «tezntY a8 boiteq emes oft
steanth en ho frog emss eit Yo tatmetes tdesfA

2aw ,stinoop tne belles sefwietto ,sw~sio® fyronenat

~ont ct astt nt desiiq € ansoed olf: sBiiosg st to moa s

brooss sit mt beth bas ,(SfaL)onotet To tsey dtneet

diy sekhonmetao-se% betbhote ef ., (deal) rife tai to tsey

“tai dud ,otouH mt bevit softett? HA stondtet Biot ve8b
ated? Biol sit to wtcemesed & es spat of iste “9

“nil bts . "ost pa | Letreqmt eft" ancom amaytstou=0

acetal eavsosd ,eonen aid to sno ag ist bees tee!

-roXeda-xe Ss to eonsbiest a ‘90nd esw

Sachin edt to suite ottitowod eft at thenontnivt-oT
ete” §~=« shatebit svagsioT, To astitgureb o-~onustmon <0

“ yronetso-s9% nt ‘gweo2 ‘to Ltqed & e8aw -

otkdesmpY to ,entdesmeY ai et Etudenswa
sud. , teenth vd eben aew t sgt to xod-eenoont exfT

“eostq obamebmat.et 3I att to qmata s evant tom 20d
“quotteul yesaty wolley figif daiyery bas yato ost}

ya aft to ‘ebteat. -ituom atl - .beljssto bas ,eupeqo
iahdas ake wad brad et it eboselg ton sis mottod re
ee OE asta Law 22.0084. paitool oteeslo yrsv bas , bs
tS hata (et 8\E duods) enmiom

IVe~--18.

The tea-jar of Pig. 6 has the mark (3) reading

"Sei", as it was made by Ninsei before he called him-

wows meda.
self Ninsei. It is also a wheel-made specimen ofa
white clay, glazed both inside and outside in white.
Like the preceding one, its coating is finely crackled.
It is a trifle rougher in quality than that of Fig.5.
Its Kano style design is painted in gold, silver, red,
green, and light yellow. It is medium in weight and
weighs 14 momme(a trifle less than 1/8 1b.)

The wheel-made tea-bowl of Fig. 7 is another Nin-
sei. Its clay is of about the same color as that
of Fig. 6, only a trifle pinkish, and the glaze has
more of a greyish tone compared with that of Pig. 6,
and is lustrous, opaque, slightly crackled and very
thinly laid. Its quality is hard and fine-grained.
It weighs 42 momme(about 1/3 lb), rather medium weight.
The designs are of flowers painted in colors,in a Jap-
anese style. The stamp reads "Ninsei",

The wheel-made tea-jar of Fig. 8 is also one of
‘Wadler svorke. 2=.Tt Ge sameiee- teeter powdset Fie. 7
in its materials, except the clay is a little more
bluish and the glazing a little whiter but less lus-
trous than the previous bowl. The coating, which is
crackled except on the black part araena the top, tee
laid in a little thicker layer th&n that of the pres

vious specimen. It is hard and heavy, and weighs

. wr eSLlwooVI A eee
A , AV 2» ‘ J
' ¥ »* “s

guthset Gi) v1sw odd aad 8 .gif to tet-sed ont

ail a beffso of stoted teenth. ud shear aw thoes pMheaes

Shacmve
ato nomi oede ok nea a eels ak $I etsentu tloa

sodidw nt ebtetuo bas ebtent ated besaty) {yato estan:

-beftogio ylonit ak anttseo ett ,ano guiheostg ent ont
8.51 to todd nedd ytifeup mi tengvot eltits<s et! #1
bor. -jevite , blog mt betakeq at agtesb sista onae atl

bas tigtew af mutbom at $1 © .wolloy ¢iyrl bas’, mees
(dL S\E nasls aasl slttyt s)eitiom AL adgtew

mill seston ~ ¥: ae to" fwod-set ShacteLoodw oft ~ ‘
tadt es tofoo saise edt tuods to et qote: ert, tse
eat saely edt bas ,adatintq efitrit:s yiso ,3 Blt to

2 agit so — amtiw bersqymoo snot gis ivets ‘8 To hon

Yisv brs befsloet9 Ulteigt Le e SBPSTO asottaul af bas
sbemtsty-snit fete busi ab yotlevp asl. ebtef yinkdt ©

sephew mart bom sontar. + (aE er ufo ds) ontanon: Sh anetow 42
“qal s- be ei tt botnted avewolt o's te amg kaob end?

+"isamte" ain qrete eft ' ,eiyte stone

to eno eae ef 8 .4fT to tsep+sst ‘eh act~Ruacte eat .
v .att to Lwod ent of welimie ef $1 saxrow a'toentl
s10m elsate 8 et ato ond qoox (etabretan atk mk
» want gael tud vos tite aftset Ss gitssty esd base detold
ak dobdw rgakicoo: ‘oat ‘afwod avolvexg. ent ftarfd avo1t

at .qot eit. bruise Aout ort mo tqeoxe belfosto

setg ond to tart abe soyal neslotedt eLtit! a at bkal

en bas 9 wre ant mente ip oe

IV~--- 19.

75 momme(about 2/3 lb.) The characters "Ninsei" are
marked on with a spatula.

The wheelemade incense-box of Fig. 9 is another
example of Ninsei's works. It is made of materials
similar to those of the previous example. The glaz
ang is lutrous and opaque and laid in a medium thick-
neSse Its inside is glazed but not the fitting edges
both of the body and the cover. It is very hard and
heavy, and weighs 16 momme(about 1/8 lb.) It has a
stamp reading "Ninsei" of a fairly large size. The
design is like that of the Mishimade ware and engrav-
en with a spatula.

The wheel-made tea-jar of Fig. 10 was made by
the same man. Its clay is greyish white and its
glaze dark reddish brown, lustrous but not tran syisek
ext. It has several black spots. The coating is
not very thick, nok does it extend to the inside.
It is hard and fine-grained, and weighs 25 momme(a-
bout 1/5 bb.) It has an engraven mark reading "Nin-
sei".
, The wheel-made tea-jar of Fig. 11 is another
Ninsei made of a greyish ones claye The coating of
the glucose color with a yellowish tint is very thin-
ly laid but not very transeoeess. It has a greyish
yellow streak running down. Around the top, the glaz~

ing has a little darker tone than the rest. It is

ote “teanti" evetostado eff (.4f é\$ tuods)ommon av -

| d .efuteqe 6 Mitw mo besten

tveritons af © aptit to xod-sencont sbsmLoedw est
aletietem to sham ef #2 .ettow otiboanet, to o [qmsxe
-waig ofT - ,olgiexe avotverg sgt to seodt ot talimia
-Hotcit mutbem «. ai htot bee oupsqo bas exvortel at pet
gegbs -yottsit oct som dud beseafg at obtant etI» «seeen
bars Disc yiev ei $t F »tevoo ght bas vbod ssid to sitod
s.eed $7. ots of a\t to de) smmons afl enotow brie ev woerl
= ont: : sonie entel xivtet s to "toa wiih gatbhser qmate
~yeione fos stew sbemisetM ost to terit extt ef ou tesh
yl Ses -alutaqe # dtiw ne

xd. eben esw aL »Blt to tet-set shan-Loorw edT
atk base ett dw; daiyers: ai yelo etl . «ham gmse ot

PRE iM NE te

ea

; Tomales eed! FoR ed, everest esitatiiad tetbbex. areb oxels

et gattgoo sa satoqe Soald Levevee aert #2 tee.

sebiant eit of Baotxe of esob Fon’ extotdd yey vor

-s)onrost 6 arigtew bre ,bentsry-entt bas bisd et 31

| nh". grikbeot Aten. moversre ne eat tl (.df AL suod

ya ion ane a cia a Mtoe
‘odtoua ak iE o9fh To’ ilsince sham-loonw aff —

to gatteoo oT. cinasattl at tele detyenry: & to obsit teenth

~nidd ytev et: sate fe hwo Liew & itiw toLoo’ svoonls) ant

satye7y & ean #1: Powers vist ‘ton dud, bial vt ;

~ssiz ert tot oad Saatote | sawob sii neni: desrte cheseite

ati t adepay a seal eccalateian ott aes ant

' piace

a Pee ;

ee Eee EEEOEOEOEOEOEOEOEOEOEOEOEOEEeE———eeEeEeere

Oe ————

TVex=20 9

hard and fine-grained, and weighs 16 momme(about 1/8
ee) The stamp (3) reads "Ninsei"™,

The hand-made tea-bowl of Fig. 12 ia also a Nin-
sei's works It is made of a greyish clay and thinly
covered with a lustrous opaque glaze of the same color.
Its quality is rather sandy, soft, and light, measur-
ing 69 momme(a little less than 6/10 lb.) ‘The engrav~
ed mark reading "Ninsei" is very large.

Another wheel-~made tea-bowl of Ninsei's is shown
in Figeel3s It is made of a clay of the earthenware
color, and coated with a lustrous ay Seer glaze
of dark glucose eros There are brush marks of a
yellowish shade on the inside and about the top of the |
outside. Its quality is coarse and sandy, like a
piece made of the Shigaraky clay; but it is very hard
am heavy, and weighs 61 momme(about 1/2 lb.) The
stamp on the bottom reads "Ninsei". Evidently this
bowl was made after the style of a‘temmoku”bowl of
China. It is one of tr best of several hundreds own-
ed by Daigenan of Daitokuji, Yamashiro, This special
one was selected out of the whole set by Mr. Ashizawa,
from whom it came into my possession. The Sangen-an
of Daitokuji has another several hundreds of the same
bowls.

The incense-box shown in Fig. 14 is a specimen

of hand-made Ninsei. Its clay is greyish white and

: - ree
ide te» aioe 7 Pos I
* , ens A i . - -

at tod) ommom at arigew prs hat giant bre bist

+ "teanti*rabser ®) quate: ont (Gat
=tekih 8 osle eh Sf att to Lwod-sat a Rael sat
vhintolt baw ystfo detysig 6, to ebsm ef ot " odtow e'’ias

stoLoo ems sult to essla eaupago eroutant es tiv Betsvoo
~SHEGDIL SHigit bas yates base. tedtet at ytitsup asl
»“vetpas eNiT ~ (sdf oL\s maint nad elisiil s)ormom C8 grt
oo + yopmal yaev ef “Esantu™ anibse 2am be

nwore ef a! beantl to Sradeaot ‘oban-Llosnw tertoms

Stewoensass: 6dt to Yello: s to sbem et or eo GL: salt nt
-esalz Feces ae asotte ol s Ad iw betsoo bie e10foD.

6 to ekism dewid e1s.eteiT. - s10Leo. seooulg 21sb to
ond. to God salt tvods, bis shtamt-ent no ober teiwollay

: @ etkh. vbase bas. eata09 eieysiiasnep eff. esbletuo

bist yvievy ai oh dvd Avalo Plereg tse est to eben soelq

(adf S\L Jvods)ommom £8 adgtew bas ,yvsens ine

aind yltnsbivd . ."kegmt" abser modtod et no qnate,

TS twod" trlommsd"s to, elute ont ietts ‘sham aaw 'Lwod
«nwo abotbaud Isteves ‘to teed @it<to eno etatl \.snts
Istoega ati? .otiresmsY ,itiwlotted to ‘ngnested yd be
ewan tiled sw yd tea .sLonw. entt to tue petosLee @sw ono
hennegsad: 1: # aay -aoteeseaod. ‘an otnk erties $b mio siw iat
omee | oxft: To sborhans Lereves todtons 22st ftinfotted to
EE | eee perth te ‘tatwod
Goudie SB et aL. agit ich ey ind omnsieeny: ont
bne Meta siirs iain om: est eed ‘sbantebasst to

QS = _—

IV- =21 @

its glaze is pinkish white like the color of an earth
enware. The Pere pa and crackled, but
not transparent. It covers the whole piece except
the fitting edges of both halves and the convex top
of the bottom, which are left bare. The design is.
in gold and silver. Some golden mist is also found
on the inside of the cover. Its quality is hard and
fine-grained. It weighs 64 momme(a little over 1/2
il bye) The ere reads "Ninsei",

The tea» bowl shown in Fig. 15 is a wheel-made
modern Omuro. It is made of a light brown clay and
heavily coated with a greyish white ee. bluish
tint, opaque and lustrous. There is a dark spot and
some brownish streaks in the inside, where the glazing
is not very smooth. It is hard, and weighs 66 mom=
me(about 6/11 1b.) The stamp f) reads "O=-mu-ro",

The ‘tex-aburi(hand warmer) shown in Fig. 16 is
another example of modern Omuro, made partly with a
wheel and partly by hand. Both its clay and glaze
are brown; only the latter is of a little darker tone
than the former, and oe It is heavy and
weighs 860 momme(7 1/6 lbs.) The design is ee
with a spatula. There are two stamps in the center
of the conta one reading 0-mu-ro/( @), iy the other
"Nishizono", while its outline implies O-uchi-yama.

The modern Omuroyaki are those that were made by

«id1e2 ne to. 10loo edd olet stidw detintg et esety @ tt
dud phe ftostto bs idee Cathie edt oe Stewne
tqooxs svetd eLoriw-ent etevoo #1 .dwekaqematt ton
qo} xevnoo ant bas eovlerl ited to aepbe grittit ext
(af optesh efT ened ttel ete dotrw emo ttod att to
bao? coals at tam weblog emoe ..t9vite bres bLon sit
bas. bisd ef utiflaup etL | .1eveo eit to sbhtentk ert. ao
S\i revo elttis glenn bd elie +t dankingunatt

»"heenti™ ehest + J) amete ent Gad.
aban Leedw. & ™m GL «pit at wore iwod “aot OEE Be
bre wets sword digil s to sbam.ek $I .o%umO sebom
feluld 2 to S78. otidw datyetn we ddtw heteos yLivesd
neers toqe zAreh g et ereAT satroutent bas Supsgo qsaist

-gniselp ent sduihe btant ef} mt eleerte setaward smoa
esiom 35 atinkoe ites. , btet ei 3I . pfitoome stew tom et
«"ort~sueO" | bag. G}-anate ONT. (edhe L£\8 tuode)em |
at BL .gtt at mwoste (remaw ost) tsuite-Ked? ed». |
& itiw ylttse ebam ,ormO miehom to eLamexs te ntons !
sasig bas yelo. pt ton . -buet yd yitisq bos, Leodw
ened, weuteb elites. s to. ak vessel and wine powoid: ets
bre. cvaedt ai dT. » skagderteud bre. Benet? ent) manit
fevetgns ek mpieeb- eal: toads a\L_ T)emmon 088 arlgiow
aetaso exit ad aquede owe os ovedt -sluteqe .& Attw
rerio. oad bas iA @) Jor-um-O gatbasr efto utod tod oekt to r
ameicetton-¢ aetiqnk ent fine. ote: eit dw g™enostielm"
we bem orem, out ciara ot eatioal medina cen i

SS ee

IVe--22.

Zengoro Wazen, the twelfth head of the Nishimur€ fam -
ily, who posaiaeri Ged a pottery-factory in the fifth
year of Kayei (1852) at the same place where Ninsei
had his. |

The Omuroyaki of Fig. 15 and 16 are both of them

only a little over twenty years old.

The origin of the Awatayaki dates back to the latter
part of Kei-cho(1596~1614), or to the early Genna period
(1615-1623). The founder was called Kuzayemon, whose
works, like Ninsei's, were painted first in indigo and
brown and marked “Awata", are so much like a Ninsei in ,lay
as well as in glaze, that one may take them for a real Nin-
sei. They must have been made directly after the latter's
period. Later Awatas are made of a clay of cream color and
finished in a glaze of the same color. The later the wares
are, the softer is the Ge o4 the glazing, which is always
crackled.

The wheel-made bowl shown in Fig. 17 seems to
have been made about Genna period(1615-1623). It is
‘made of a cream white clay slightly greyish, and is
thinly coated with a glaze of Be Ae the same color as
the clay, omy of a bluish tint, lustrous, opaque and
finely crackled. Thre design is painted in bluish
black and blackish blue waterglazes. It is hard and

fine-grained, and weighs 63 momme(a little over eee a)

*

-S85-<VI Bet

= iis Prumititere ent Yo eed dstrews add 8887 =|
adeht ext at potest yrestog s ‘pecanieesiiees ort ett
boonth e‘tertn. sci empe orf te: (seat) ‘foyer. to TOY
gaint “bart

ment to nfod ets as bees er +gtt to tsleyorum® ott
- *riphee enue Vici eo SLeNt le vine

notte oft of Mead sefeb tfoyetewA sift to migino oA
hotreq sinh yLise sHivot 10% (BLOL-3eaLYodo-te® to s18q
- seortw qntomeyaste heflao Raw ohne? ont M8SBL-818.1)

bre ont bit mk sands beta lag etew ,2'beenth ett ettow-
ysi, mt feast s od ht sloum o8 ots ,"stewA" Beltan bas nword,

-mi Leet 6 iT meds sates vant 9n0 teas ,oselg mi es ILow as

etyetiel ode wsite vidoortb eben nosed svsi tenn ‘yonT —toe

bus voloo mae'r to veto sh shan ots ead WA 1e8ted 4 boltsq
aetew act tetet oft: st0l09 sms’ sit to oxely #8 at bedetal
ayewis at rlotdw santas ent wy rola ent: at restore exit ots
| age RiETSaae ere oper kia fe Apa iba
Pigg tines wait of mwoste Wid shaditomid net:
wt ree " +(80L-8LdL) bolieq anned tyods sham need evart
ad bre | via ixets ‘irigtte ‘gato efinw medio £ to sbem
Py “toLoo- ‘émea ott anos ‘Yo saeig 8 astw betsoo yintnt
brie eup ago jeuorseur inte Hetitd 3 ‘to “ino VeL. ont
detwid nt syiones ee ytoen’ ait \betitostis lent

bre Bratt et SE speneaeiranien wabssapanagirntcsiats ‘a

ii ar we evo ‘efeene vices —_

The wheel-made tea-jar of Fig. 18 is a work of &
Genna period(1615-1623). It is made of a cream
white clay of a bluish tint, and thickly coated with
a greyish white glaze having crackles of medium size.
The design is in several colors, such as gold, silver,
red, igreen,iblue, etacetera,y It is fine-grained and
hard, and weighs 29 mouue (about Le AAmi Bae)

The hand-made openwork bowl of Fig. 19 is about
one hundred and fifty years old. Both its clay and
glaze are creamy white of a greyish tint. The crackled
coating is rather thin and slightly shows through the
golden color of the underglaze. It does not extend
to the bottom. The design is in light yellow, green,
and gold. It is hard but rather of medium weight,
and weighs 62 momme(about 1/2 1b.)

The wheel-made Little bowl of Fig. 20 is only
about twenty years old. It is made of a clay simi-
lar in color to that of the previous one, except it
has a little more of a pink tone. The designs are
rather heavily laid in a dark blue ee ae The
glazing on the inside is white and crackled, laid in
medium thickness. Its quality is rather rough, hard
and heavy, weighing 39 momme(about 1/3 lb). The
stamp reads "“Hozan", which is the name of an Awata
potter.

The wheélemade fire-bowl of Fig. 21 is about

sito A1ow & et BL gf to tat~sed obsm-Loocdw ost
mgeto 6 to sham af tI . .(ES88L-8LdL) botisq ened
itiw betsoo yineivd brs etnit ceintd s to yslo etidw

,este. mut bem to asivosto anived esaly ot isw de tyerg B

revita ,flog as soue ,810L09 Leievee ni at ogiesd eT

bas benlergeentt ef JT eb19399 te could festy , hex
byt BLE twd'dsdommom eS -artytow dae ,brsti

tuoda et @L si to Lwod A~towneqe sbham-hred sit

bos yslo ath. dtod sblo-axeey. wT. bas beibasd eno.

helvoeis ef omit delysi «6 to oticw ymso1o sis seein
ent. davoruls ewors Nidiwipife bas mint teddet ef gnissos

basdtxs fon agob tI. oSsalgiobny ad to motes noblop ;
gee1y ,wolley digil nt et mytesb ed? .mottod ex? of |

teiatew ins boo: to verte: tud bradt-et tI biog. bas

.< ft. Mi tuods)emmon 4. adi tow bas.

yLno i os att to Lwod elses obetr= Les rw edt

- ~imte. yels s ‘to eben et 2a sblo sissy ytnow?, Died.

hs a dqeoxs e ONO. auolvexg pe to tect ot toloo ne ‘tal

; ers angiesh edt vented ccrce & to stom eLttil es esd

. ost soxals eyed Leh, 8 ot bial’ yLivesd t9dtsr .

nt bial beldoet9 bas otidw ai. ohient edt mo aritssis
siguo% tedteat at xtiLeup. adI s2eniblotdd mark boa
ont (at AL ‘tio da) onmom ee antistew veveost bas

Siew: ne to enn te a soe P aaaell abaor quate
| a tains were sr ALOR ;

toss et is 2 alt 10 onan oie» ent

n ra

sim 4 ‘ 7 - F Mn : 4 : : A ion
Pe ce oe ee
re fie be ta | | i

shee wi tie a ee 2

|

IVe--24.

one hundred years old. It is made of a clay similar
to that of the previous one and is covered with a cream-
y white #laze. The bottom and the lower half of the
inside are not glazed. The coating is of medium
thickness and crackled. The design and the characters
are in light blue and dull brown colors. It is hard
(ee

and fine-grained, and weighs]1l momme(a little less
than 1 1b.), rather heavy for the size. The stamp
reads "Kin-ko-zan", the name of an Awata potter. A
fire-bowl is a bowl, in which some live charcoal is
served for lighting tobacco pipes«(s acca, tow Line Lene.)
: ES 5 * Qe -

The Karohaniyaks, fsatid b Shimane, es eee Cie

Kurodani is about eight cho (a little over 1/2

mile) to the north of Awata.

The early Kiyomizuyaki was called Kyoyaki. Later on,
about the Yeisho period(1520), the Shubuya-yaki, Komatsuda -
MNniyaki, and Seikanjiyaki were all being called Kiyomizuyaki
without distinction. Stor Sika 6 tomaiyeh ci Kushichi were
their originators .rmessectisgety, So they are sometimes
called Otowayaki. Anyway, they are all similar to a Nine
sei, except that their glazing is a little thinner, smooth-
er in texture and more finely crackled than the latter.

The earlier works are painted in blue and dull brown. It
was not until sometime after Keicho(1596-1614) that the

ceramic decoration in various colors such as gold, blue,

RIS LOE se

velimte yalo 8! to. ebam ak $f | »bLo sree: eee Bhiet B10
emso10 8 ridiw bevevoo.et bnse end evobventy exit to tenth ot
eit to ties tewot ent bas motiod otf : ~9sele® otinw yv
shaft "Wek tlh ible, Sie hotest ton oe phtent
atstostaio eft bas mgigeh ost? .belfosio bas aasnxoi dt
bref et $2 .erteloo sword Lieb bre entd gael at ers ~
apel elttil »#)emmom Li partg tow fos |, bentsta-entt base
quate ont Gente ont tot tveos roster ( (400 £ mart
A. .tedtog atewA us to omen onft 1 *Hascodnd" abso
at Laodtarte eatt emo e dotrie wt qiwod@ &t ‘Lwod-e71£4

See saath mare, 2) esta oovsdot anitdgil rot bevree

ars dl my Mahe arated ee a

s\i "revo ofsete a) (ont trate tuods ws toeborws?
- BtewA Yo sitioh sid tod (elton
| , fo sete dilexoet belies. saw ideywsinoytd yites ont
~ shugdsmod, [ihacemenctenet vests . (ORL) botrsq omareY and tuods
tisquslmoyen: ‘be fleas ant ad (ag evew ftethinettea bas ,tteyta
etew isotest. baayircenotiryiox090- snotdontte th tuondtiw - |
eemt témoe sts’ yout of. ohewitessews, atoteitntto ‘tient |
oni 9 od teltnite Leste yet yyewynA stxloyswod boLfso

~ioonta , tensids oft dht 2 af prisels sleds Stadt tqsoxe ~i9e

| eteottel ane nent beisioeto ‘wlentt “ertont bis. attixed ni 19
$I ,tword [fsb bas exld ak bstntsq sts sdtow rsifves odT
ont darts (BL8L-208L) oft tox notte emitsios Lita tom asw i
,ouid eb lag § a8 ia mene ssa om en okmers9

IVe---25 ®

yellow, green, red, black, et cetera, was first introduced
by Ninsei and Wankyne Silver, blue, and green, glazes are
Aoi heavily put on, while gold, yellow, red, and black
ore thinly laid. Blues and dull brown are waterglazes.
Shibuya is in a eet valley between Seikanjiyama .
and Toribeyama, on the road from the east to Kyoto,
by way of Yamashina to Gojo. The valley is always
very slippery for the pedestrians, and so Shvbuya is
eee called Shiruya(slippery valley). (By the
Yo-shu-fushi). Wakamatsudani and Komatsudanj are on
the south-side of this same road.
Seikanji is to the south of Kiyomizuyama.
The wheelemade incense-burner shown in’ Fig. 22
is about two hundred years old. Its clay and glaze,
which latter is very thinly ladd, opaque but lustrous,
are of the same yellowish color. Its crackles are
very delicate. The inside is bare of the coating.
The design is in various colors, gold, black, red,
green, and light yellow, of which the latter two are
heavily laid. It is fine-grained but not hard. The
weight is about medium and measures 14 mome (about 18
Kenzanyaki was made by Kenzan Ogata, of Narutaki, broth
er of Korin, and otherwise known as Sansho. He pated him
self Kenzan(northwest hill), as Narutaki, where he lived,

eae |
was to the northwest of Kyoto. (By Chado-sentei).

eu bi, a

—

hsouboisnt taxtt sew. pubtig te plosid ¢ Por H99%R _roltey
pts, eesalg e189 %Q bits, ould s TevEeS. : Aotris® brs feentt wd | |
Hosld bas ,bex _noLlex vlog, oft aw Ato dug ylivessd Yilsvew }
ay a0ssigisiaw sis cwoid Iiyb. bas. ports _ebisl wniss ots |
“stsyt Logit 02 noowded yeLley tow # ak at awudide
(oto Ul of tage. ett, mox? feos off m0 ameysditoT bas
eyswis at yellav eit ston ot aniseameY To nie , {

et icin 08, pois -etteliiseheg add 10% ‘exemmnie wii
ot3 YE). «(wellav yvredatleleyyxtd? beliso, semitomoa .

- AO Sts iasbuedantod brs: inebuetemetsW . iitegheaenoy
oi ~ aot smes aint to shie-tvo0a ests Tale

<Sattuaeicton rE te atuee ‘ent ot af bbmentte®

Sf .gL% re nwo dancin abbpick: eham-Loorw esT -

«esalg bas Yselo: atl -bLo aisey bes beud ows duoda “a
euottest dud supsqo ,.bisl vfotds ytev si totter Holdw
pa 4, Ste ee Ladera, al ytoLos Seiwolley smse. oxlt a 4
ae ai ent To exad et Sblant edt sotantLob res |
aber faald eBLow. eBtoL00 auolt sy nik at mish, ont
978, owt mes ted. palt,. Aobriw to ,woltey digit bas ,fe9Ty
_ oft ,bisd tom sud bomtermnentt gt 41 .bhet vLtvaed |
at tuode)samom. AL Se 16 B90 Bre mubben tuod 2 ef digiesw
he enh Wigial glib aatiepe sila ue epaelt ty - of
eitord dalasurgtt x0 -Stsg0 masnel yd ebsm 2.aWe bentaniee ro
wits bolfso, eit | sOrlans® as myos sekwissito bos ,nhtoX To 10
. phawil vant ores. ehediriell | as (EE daowitsrton) nesne%, fea - |

asia dian «00% to taonsition oni ot BBW

i 5 -! wa
tab ee tee Oe
F i ™ sh “: *<

\

i ' . va") ' iy Fl
ing a f . : om peri at aah Nalee : : rai, % Pris
die a y : re ei | ge ee ee ee ee

IV-~=26.6

Kenzan Shinso, popularly called Shinzaburo, was the
second son of So-ken Ogata, and lived first in Kyoto, then
in Narabigaoka, when he had such other pseudonyms as Shoko,
Shuseido, Shisui, Reikai, and TO-in. Later in his life he
moved to Tokyo, where he died in June of the third year
of Kwanpo(1743), at the age of eighty-three. He studied
poetry under Nagayoshi Hirosawa, and tea-ceremony under Zu
ryu Raa. isan eas While he was a great master of painting,
he was no less excellent in the ceramic art. His works ©
have his own designs on them, sometimes with some caligrapl-
ic writing of his own, and are usually marked on the bottom
with one or more of his several names. (By the Shogwa-ben
ran).

Kenzan's ceramic paintings are of the same style as
that of his brother Korin, and are conspicuious in their
classic beauty and simplicity as well as their characterist

ic originality. His works while in Kyoto are made of a

_ clay similar in color to that of,old Awata of Ninsei.

Some pieces are made ofafine greenish. clay, probably of
Zensno.e Anyway, all his works are hard in quality, ex=
cept those that were made in his latter days in Tokyo at
Iriya, which are like a Rakuyaki, soft in clay as well as
glaze. Moreover, the Iriya ware lacks the superb taste of
design of his former works, though it retains their classic
elegance. His works are not so elaborate as those of Nin-

sei, but very simple and rough looking.

ae
: asenevt ae a be or
: * oa e
a. ~ ro ny ‘ a hie

ont ésw , (otwitonretste ett tso ee yoantia i is uci
tent ., osoyrt out sextt. bevel bas idl ‘neton 0 * nos bao gd

189%. mek exit Yo snvt mt beth ont ‘overt, wary ah: mea

bel puta ok soot audits is to ene ond ts at EASE) ogaemt to ee
tus ‘xebau Wome tessset baw ¢AweaOTkH iieovagatt webu Titoog .
anttober to ‘ete er testy F:) aa on oltdw” 98808 Bas incr
axtow atit ete olmerso ext ae tisifsoxs eset on ase of
#iqers tise, omoe sgkw Bemis ent oe mete Ho angtesb srw “fit ovat
mot tod ont m0 erly sni vEenren ital Gris cae ast ik peti ot

jeeteeteunedd best as Lfew es uttottomte “a a
-4 s to obsm! ots oto nr iets arow efi Sey st

0 yldedore seas bth aide b
“48 sheen nit fra ox ceil att J hers

Font eee
ey. ba

; an | = iz
a age

SiVss2o%

Korin, otherwise called Ho-shuku, youngest son
e€ Suaken Ogata, lived in Tokyo and was popularly
called Kariganeya To-juro. These were not all of his
names, but he called himself by such other names as
Do-su, Jakumyo, Kansei, Iryo,et cetera. He was fifs
ty-two years of age when he died in the first year of
Kyo-ho(1716). First, he was a pupil of Kano Tsune-
nobu; but later’ he mentee the fos® school, before he
distinguished himself with a new style of his own and
was made a Hokyo(an honorary title of artists). He
was an exquisite designer and decorator of gold lac-
quer ware, not to speak of his accomplishments in
landscape-gardening and flower-arrangement. He was
much of a teatemtmidieass too. iy “Snewa Nedra,

Narutaki is about one ri to the northwest of
Kyoto, and idriabienolia is about eight cho south of th
former. |

Cho-ko Hirosawa was otherwise known as Kanetomo
Cho-ko. He came from the province of Shinano; and
was a pupil of Sadanori. His latter days were spent
in the Kosanoya of Hirosawa, west of Kyoto. He is
sometimes called Mosawa Cho-ko. He died in March of
the ninth year of Yenpo(1681), at the age of sixty=
three. Collection of his verses is very popular.

| .
(By Kantei-Benran).

ae) a : ae pen

foe tasynsoy nlite -01 ‘beLlso ssiwierto (nb x0%
¥itelugeq gaw bn oyster ‘at hevil ,sts20 reil-o8 to
aif-to Lie tom S16w eaetT .daw{-o8 scooby tsi belle
wa Weside Waddy adhe We Yibedid Bok tee ae dul, eemsa
#tlt os oH stesso te, oyrl ,tsensk ,oymintet ve-o0
| to tesy tetit sett nt beth ost roitw eRs to eissy owl-yt
manual one to ftauq # ee om, sextt 7 » (OL L)on=ort
ef sttoted: ,foontse Pook ont ot tnew on astal tod ;odon :
bie wo atd to efyda wen s ditw tloemtd bee timnideth
oH Steiviiae to efits yretonod aslowlol s ebsm @aw .
wosL Bloe %6 ova bas ~emgteob Ji ie ae enw
ft a J nonitia bLqio 908 ain To teege ot ton ¢STAW TeMNp
Baw oH. _sSuomegmerteT8WOLt bas aninobtag-oqsoebnel
« (neriot-swgodt,.va) «003 ptestantine-set sto foun .
‘to sabwition eit 03 fx eno tuods ef tistyiet ao
aft. to uidwoe orto Shiai tiods et ani baa. Seu
Fc aah Me ! aa temo
oni ail ae ewe eta satwrestto: S.8W Mei oh ox-o10
bre fonenene to sontvory oft mott S4t1B9 oH oto)
tnega etow eysh Tedter elt ,tronabs® to: fiquae eew
ef eH - voroux ‘Yo teow awe owt! to ‘syonsao% oft at
es) sfot.sit ak peth of - r yoda) sweooll bo ilss comitemoe —
bs «vinta “to ens ett te , (1861) ogner ‘to ne9y take ent ;
| reba wiev ak eseisy ont 0, sottos£600 .eo1ks

he why
ae ae ct he ae s(naxnot- teamed x6)

1 re 7 i i i ‘
viene ee, 2 Eee ee Sie Ge rt

Veet pat aes a Pear ote aan i ro

IV--=-28.

So-sa Ryo-kyu, scn of Ko-kin, was otherwise known
as Fushin-an and Zuiryu-sai. He died in July of the
fourth year of Genroku. In his days, he was popular
ly called Richinen aces for an unknown reason. (By ike
Chajin-keifu-Pedigrees of Tea-masters.

The incense-box of Fig. 24 was evidently made by
hand with the help of a mould. The clay is greyish
light yellow, and the glaze is also of the same coloy
only with some pinkish and white spots. The lus=
trous opaque glazing covers the entire piece except
on the fitting edges. Here and there it has a slight
‘Suggestion of crackles. The design taken from the
famous poem of Akashi Bay, is in dark blue and green-
ish brown. The patterns on the sides are in blue,
and so is the mist on the inside, as is shown in Fig.
235.6 It is fine-grained, hard, and heavy, weighing
56 momme( a little leearien 1/2 lb.) His name is |
marked on the bottom in blue.

The wheel-made “choko{a drinking cup) is a speci-
men of Kenzan's works made of a clay similar to that
of Fig. 17. Its thin glazing is a little more pink-
ish than that of Fig. 5, and lustrous, opaque, and,
crackled. The inside is also coated. Its design
is in white and chestnut brown, of which the white is

very heavily laid. The quality is about the same as

| Ng a cate aa Wy
nworst satiniedto aaw Palo 6 aes eo ae ae . a a
oft to YLvh mt beth oH. stee-icst08 baa, cenat ne ea
| seLuqog SEW sit eBYSP aT nr _ swtorms te Aes dawor 4
shige) - stoe.20% bwoming oe 10% 28-08 tottrolt betta yl
| eeretecma57 Yo eset lSoGauttssiemt tes
va dba YLinebtve te oe -nit. to xod-eansont eat
fia tyorp at yelo ea? sbLvom 8 To qisd. odd rinse
goles emse onia to gals ak easly ante bas sWOLLoy ir i
want. ent. setoge. ‘etiow bas satiate antes ote x
dqsoxs 805 En; etidue edt a1eVvoo nitsely ion’: a
trigt Ia . Bast $k eredd bas. eel 286359 ‘antes oat oe af *
orf mot neatet agtheb. sot | -a9font9 ‘to fottasg z
snoe 7g fms ouih treh nto «vel feet to Bog estos
. could ag. O18. dohte odd fo anes tom sit. “anwar
or sands ‘ott oh escorts at Be ‘ablent eit m0 teim ont at oa
7] - patiigtow: rr baw aebted, bontorp~entt ak hee
at eons att Gd ot iad seer enats as : |

san
7 “

ae: ~tosae a ak (quoignéant pT owe
tent ot welints, wl £10 stan «
"alata © er0m, ensgee ¥ af notsoty « ais ad
4 bre sur 8n0, stuoriant. ben stat M0 Bi
“mgtesb asl. sbeteo9 opin at @ £
ak 9d fie. odd. ae mword tr

nak as emae edd fio
if rs “eb
is i : “om
a i . 7 ee
Par ‘uM / a ' ; a
ae Paar a y Meas .
eee) he ee

IVe=--29.

that of Pig. 17, and heavy, weighing 22 momme(about
1/5 lb.) ‘The name“Kenzan”on the bottom is in dull
brown glaze.

The chakinzutsu(a stand for a tea-ceremony napkin)
of Fig. 26 is another of Kenzan's wheel-made works.
its clay is’ like*thet’ of Fis. 9. It is thinly glaz-
ed in white on the outside, but grey inside, both
glazes being lustrous but not transparent. The Chi-
nese style designs is in a yellowish light brown glaze,
somewhat transtseehe. It is of the same quality as
the piece of Fig. 9, and heavy, weighing 19 momme(a-
bout 1/6 1b.) The mark "Kenzan" on the bottom is in
a dull brown ate

The hand-made tea-bowl shown in Fig. 27 is ane
Ps asin of dit ake, The clay is light grey and
the glaze is lustrous jet-black of an opaque sort,
which is known as "Kenzan-black", and is very much
like the Seto-black. © The coating is total and thick
There are three plum patterns on the outside and two
inside, one of which is in greenish grey. All these
patterns sink in a little and are not even with the
surface of the black ground. The ceating is total.

It is hard and heavy and weighs 105 mormme(about 5/6
dg)
~All four pieces above mentioned are Kyoto.

The wheel-made tea-bowl of Fig. 28 is another

ftub nt at noitod exit + not senas stan on Ba a Ae

* yi i a4
; “sesedy ames
(aslete ynonete9=s0¢ & 101 baste ‘plo tsnintstests ‘ed? le .
7, ie
Le saw ofati- Loew at nas cext to. renttons ak as. git to

~selg ylntet at $r 2 ait to decid slit ak welo edt
. Atog, obtant. yes tard sbtatuo sit no ‘et ctw at be =e
i) ont tasteqanars ton fu avoxtart antod sesshy e nh

denis nwotd doit datwollay-s ag et pimtesb elute ceon

as ¢ttioup amse oxtt ‘to ai it eer See teiWenon He
os)omuom @f gaits tow used bas ,@ alt to aosiq. ont ce

Aid
ak af modiod sit mo "aeaneN". ease od (dt At tuo eee

ah 3

; | " enaly woe ‘ce

: ‘Tet -
sist of es sat nid ‘pwosle Lode aed ebsm hast oat Pa

4°

| i
: : bas ‘xera trig tl ek yslo ‘aT : nasneX Yo nemiooqa +
j Ps ee t10e oupato ns %o fosidato¢ auorsaut ak “es “4
see crey eat bne eSlonté-nsso2 cs wom il

Le * eigen

go tet bas feto# 8k’ gotdgoo eat rearotys
owt Bas ebte H0 ool no aniedisq euler sent 9ts &

re en

| | eos renal < oa tae at ot Fiona ‘to

ve i

Ne suelo 8 tor ‘ator

i ‘ v
“ ai he

a

IV---30.

PE, and is made of a greyish light green clay.

It is finished in a dull opaque glaze of the same
tone. It is hard and fine-grained, and seems to be
made beech tio clay. It weighs 65 momme(more th&n 1£
lb.), rather heavy for the size. The name on the
bottom is in dull brown.

The wheel-made tea-bowl of Fig. 29 is another
Kenzan, made of a clay of the earthenware color, and
covered with a glaze similar to that of the previous
example. Tre white is very heavily laid and has sore
brush marks on it. The pattern is in blue and dull
browne It is rather rough and hard in quality, bes
ing made of the Shigaraki clay. It weighs 65 Momme
(qlittle over 1/2 lb.), rather heavy for the size.

The name on the bottom is in dull brown.

As some of his works are made of the Shigaraki
clay, while others are made of the Zensho clay or
others, I am inclined to think that he must have tri-
ed his works at various places.

The wheelemade bowl of Fig. 30 is another example
of Kenzan. The clay is of the earthenware color of

a greyish tone, and the glaze, which is dull and o-
paque and rather heavily laid, is yellowish brown with
minute white spots. The patterns are in chestnut,
brown, red, and greens It is rough and heavy, and is

probably made of the Owari clay. Its weight is 61

7 a

A

«ets moet%g tay is detvets & To obs ak bas oasnek

- fies Od tO osely etipsge Liub o nk becdetatt et tI -

_ ad ‘ot empee bas ,benisiy-sntt bas bied ek: i senod
Nr geld orton) emmom G8 ass iow ar 2Yats ditanok,.t0 shen

_ Beit nto esis ont soaks ott dot yvaed 1oitt.ar Keka gx
| * ,eword Lfsh at at sacha

vedtoas et CS ,nit to Lwodssof¥ sham=Losdw sft
bus, toLoo star nodtyre9 ent to yslo s to qbsem ,qesned
evoitvyerd oft to tact ot teLimte ssels 6 Atiw hetsv0o
g108 pal. bas biel yiivaed vier at e@tidw aft a ehiaigee
Lfub bis ould at et mistteq ost | tt no adtei dass

Re el

. (08a VE are! ob

tad, ith Laup ak bted: bas caso, Tesih eo, Shot amg ae. :

ammioM @3 angbow $I 9a yalo befnreg be end to sbast gat
: nett ent, 107 Yveod. Toriter p(-df AIL 190. elititg)
. sarod {fvb at af motto sft mo emariva dT
inleteahd® edt to. ebasr ots axrow a$h to om. g. A, .
x8 ‘yale onenos ail to aban 516. ertedio aL Lstw velo
Mtat ‘ovad tecm ot Aadt Uatds ot ‘Sontlont os I seqeddto

ss00884 auoltsy ts. edtow etd bo |

elaine soritons. i be «ait to Lwod” obsute £0 9ri0 ont |
to ~6fo9 stowneittive ett to. at ‘esta oft saasieX ‘to

0, bas igh. ak. sin ete -,esalg ad? bee ers as byets a

| tiw ow dtd Maino lion et BEBL, stivasd tedtten bre eupeq

tumiassfo at ets antottsq ‘oft ‘oe of Ete otuntor
ak bug: quveedt bab giguot vat ft 4 ne be «sox .
£9 "at saad id wie ne mt os vo rh latte

*

”~

© qyites ai,

SNE 1/2 lb.) His name on the bottom is mark-
ed in chestnut brown.
The “mukozuke saucer of Pig. 31 ia another Kenzan
It is Bae Ge a clay of the earthenware color, and er
tirely covered with a crackled light yellow glaze. ¥
The crackles on the inside are coarser than these on
the outside. The patterns are in dull brown and rea
It is soft but heavy, and weighs 94 momme (over 3/41b.)

The plate in, Fig. 52 was also made by Kenzan
with the same material as those of the previous one.
Its glazing is opaque, lustrous and crackled. The
design is Be blue, green, and lavender glazes,
of eer aus and transiycent sort. The quality is
about the same as that of the previous one. It
weighs 105 momme(about 5/6 lb.) His name is written
on the bottom in dull brown.

These two last mentioned were made at Iriya, To-
kyo, and look somewhat inferior to the other examples,
in their general make-up.

The Uchiyaki of So-hen was of course made by So-hen,
the tea-master. According to the Chajinkeifu, he was a
Kyoto man but lived in Yoshida of Sanshu, and later moved
to Kyoto again. His early name was So-yen. alt had
several other names, such as Shugaku, Jokanshi, Shiho-an,
Fushin-an, Konnichi-an, later, To-ian, et cetera. In the

fourth year of Sho-o (1647) he became a pupil of So-tan,

a7 fe
. " hin - - . i 2 a
2 bara e ae gore
. — ; : x:
se

tik St tod.) stuom ~
; | op two td -tuntesdo nt bo
nackte seteedie at 48 att to veouee” exusoatud” oft Pade

“9 bas ctoLpe etewns dt ise ostt to yslo & To Liatund 2 oe
shir wollsy, dng tt hebiosyo a, aisiw betevo9. yleiis

“His ef mostod adt ao omen elt

x0 sear? ftactt 19271809 ors ehtent exit fo ae flo x19 ont
‘bet bas awotd Lfub at 91s arrester ae » 9biaduo ‘edt
(. dLa\s “t9va) emmom be any tow ive ecvaort tud Stoa et 3
nesiek vd sham coals aew S& watt gt atal¢ edt. .
soto acolveig: edt to. saontt as Laitetam ease ont at iw
eT abe bloat. brs eHoiseut ,aupago at gnisels att #
. -gaesaly tebneysl . bre qmoe%g , ould er elees. ak agieed ;
ak wih teup ent ottoe tasavfaas id bas esortant to
a a ano auotvorg ent 10. telt @s omee. addy: trode
nedtinw a omen bit . edd ae Hodes) simqont 20L _atagew
| ae gewrond Ltgh at mod tod ant m0
~ of pas te 2 bam otem beaottaem feel ont eagnt ”
,sefqmexs sonido ods os yoivetat Jandwamos soos bus ,oxt
ay +qu~9slam faxonsg thedt at
eonln08 ed sbam saris 9 te Say aaimoG to thaytaot ont
& saw ec etoile tae onl ot sath totasmeset extt
bovous tots bas ‘ueere2 to shtcdoo¥ ok Bovis turd tam otove
dad Bh : anoynod aay omen ers! ant | mk aps otoval ot “4
manos hisnstot nips, 26 ove eB OMBR vedito fsvavea
edt nl paretes te. mato? vietal, aafte Lip Ennot, sMennkdant F
“418-08, t0 Eiqug z “ar on fies, niall ito Oe diuot

IV---32,.

oF

but later went over to Ogasawara Tadatomo. He died in Tole
Kye in April of the fifth year of Ho-yei(1708) , at an age «
of eighty-five. His remains were buried in Tee shat tone
wanji there. He is the author of the enitevewkelu (ELle~
ments of. Tea-ceremony) and Chade=benmossio (Guide-book of
Tea ceremony) P (Space nim Qed. fre),

Uchiyaki (inter ior-bake) was so-called becouse So-
hen's furnace at Minami-oshikoji of Nijo, Kyoto, was in-
side of a house.

Tre hand-made water-jar of Fig. 33 is a specimen of
So-hen's Noksveuis It is made of a clay of the earthen=
ware color, thinly covered with a screen water-glaze, over
which there is, on the outside, another coating of an opaque
dull-black glaze, similar to the Kenzan black, through .
which the green under=glhaze slightly shows here and there.
It is coarse, soft, tad light, weighing 188 momme(a little
over 1 1/2 1b.) It looks like an antique bell in shape.
His name is engraved on the bottom with a sie tuney
Some works look like Wankyu's works; eee they smack much
of the Korean style. Their designs, however, show more of
the Japanese taste. | .

The tea-bowl of Fig. 34 looks to be about two hun-
dred years old, rather too new for a Wankyu. But its
glaze is not exactly that of a Kiyomizu, Awata, or Iw
wakura, though it is similar in its general mud iditye

It is a wheel-made piece of a greyish white clay, and.

he rie, ee a oe oh) a Ra te
Ps ar ee eet se

pat Ye ine au lit eo betivd” e1sw Pcp aaa <e

‘Seeast rlortoy- desc ent to vont ont et oH | erent indie 2

.*. to Adod-ebtvd) ona-omred-obst bas (enons199-899 20. ‘ésnom
| Caret ound panel). + Cato 199 sot

“08° esuooed bellao-oa sei - (oxetterot rednt) tkeytstot 4

ant asw ,otoyt ,ottt Yo. # Lowtbileo= tos EM ta soem eek: <

; | 4 ” eave Ss hich Aura ia

te ‘diomtoogs Ss at cE. watt yg "ats 10t sw shan- bass at 7

| anedttias ‘edt ‘to yslo s to abaut at $I: otxevtsiow “ce

18V0 .ossig-isdsw moot ° ‘6 sitw betsvoo ent at _r0L00

-eupsgo as t¢: lacie redtons bias ed? so. ave ste :

| Aasoass “towkd nesns% ods ot Asaeiatr al oad ‘wont

A

a chow aosna ea savoalt gation atc, omer foot adtow
es ‘9*tomt wors cevonlt Ce-peaitl ated? a

a

at ot

Sadan!

— *[Ven<33.6

is coated with a very iuatnere opaque glaze of the
same colore The coating is not very heavy, but cov-
ers the entire surface, except the edge of the bottom
It has very fine crackles like a Kiyomizuyaki. The
pattern is in gold, yellow, green, and light violet.
This special pattern is called "Keyari", an old-fash-
ioned toy, which used to be sold at Hachimanyama on a
certain festival day. The quality is hard, fine-
grained, and heavy, weighing 49 monmme(about 2/5 lb.)

The wheel-made bowl of Fig. 35 is about the same
in quality as the previous one, but looks to be still
Hever tre clay is Re a ae! color and the
glaze, of greyish blue and light yellow euceen The
coating is fairly thick and absolutely totals The
chrysanthemum patterns were stamped on, but the
characters and the lines were engraved with a spatu-
ia and then filled with a dull white glaze. It is
fine-crained but not hare. It weighs 59 momme (a-
bout 1/2 lb.) There are five eye-shaped spots on
the bottom.

Pottery-makers of Dokimura(Harthenware Village), of
Haye, Kitayama, used to make some earthenware called Sando
(three times), Shichido (seven times), or Tsumaribana.

The names Sando and Shichido came from the number of the

wine-cups of gradually decreasing sizes that make a set.

vil:

ee ti] . y*= 3 eet +e
ua ten CR, acne

i eit, an i nl yi : Tab
Dd iG me uy: wae Wy ?
; in ae

i=l
i “
1a

were

spiel a ont re agbs ond tases: ours vk ) ad
s Ont : « tolsyws.kuto yt s ents aeLtoo | ontt B tev

oh adore: wottey dig tt bs. ould tbe
q ent elatot wLagunoedte baw aon abet ;

t nusoue * shtiw, bovergn9. orew anukts th

(ab a ‘vossly, odisiw Eta 4 ‘ae bet :
-8) enniom 02 asigtew ae: pbs ton ta
ae atoue bonsriaroys eve os pease

py ee i
; i i ee =—Tt

_* ¥
2 ees | ee a
. tet

aa : wa ty a
: a : He D
— Vos ree Ji ae

IVe--346

It is said the artisans worked very formally attired in
some special gowns and head-dresses for the occasion, when
they made every New Year seme of these Sando or Shichido
cups that were to be presented to the Gnerial household -
for the use in the sanctuary. These cups were also being
made in Fukakusa and Kami-Saga In these latter places
the industry was originated by a man who used to move to
any places, where he could get good materials. For this
privilege of moving, the local manufactures got their lie

censes from the Sho-cunate. (By the Doki-Yoshu-fushi).

Haye is in the southwest of Twakura, and five miles
north of Kyoto. |

The real name of Dokimura is Kimura.

Pukakusa is toward the south of Inariyama, and
about one ri (2 1/2 miles) southeast of Kyoto. Some
earthenwares and tiles are still made in the place.

Kami-Saga is about five wiles northeast of Kyoto,
but there are no pottery-makers noW.

The cups of Fig. 36 are hand-made pieces made after
the primeval style. The clay is of the earthenware color
with a pinkish tint. The quality is rather coarse, soft,
brittle, and very rugged in appearance. They are light in
weight; the larger one measuring 48 momme(about 2/5 LBs), 2
and the smaller one 11 momme(about 1/10 1b.)

_ eae Sh ib a 1 a : a oe ie ee Py 7 7
t 7 a " ; i - 5
| Abe ai a2, bai

Maal la
ce ha ! A =
7

atte ee
ee oe

nk bouttts ELaerror ciev bestow “enuaidia ¢ eat biss at st

7 seas” —

neste wot 28290 eutt ‘x0% apaaotb-foedt bas. “anwop “botoora once
[ obtdoine to ‘obnat gesnt Re omed 320 wort wiev9, shams ents
‘ blodsauod fatvsqmet ent of botnoaetg od “ o1ew Berit aqua a
pated osls e18w aque, eaedT ‘seteutodea ‘oat mk eau ‘eat Roe

ae as

asosia rottal oeodt a x. “yad~ bm be gausiedrt om oben 4]

ot svort ot boas omw gant s we boatsatat ro eae. ‘Giteuhnt oat x

arnt “10% ‘alsiiedam hoon ts_ bLsvo of siendw a008la vas
wit “bed to'9. aes asta cient IssoL odd egnt vom t0 sneliving

+ (daw ints oto ould ‘@) : +9 senmy=002 ouit ‘mort @ aeaap
ep ka Ci. u 4 f 7 oa
' |
7 ‘ : Poo a a" -
eofkm svit bas jeretees bbe seeuittne oud at ak ‘owt
| ee os )
ers eet ae Bhi hs

i a ee e a a Ff "i |
aaa: * ‘oso to tate At08 abe Ae s) tr os oie i og
*
ssoatq sit ab. aban titde i seit
(oto ‘to envision socks ovit toda. at BS “|

ao i? toi a

Sa xoloo oramiedtaas ody t ar telo oot
_ fton -9et809 voutter “et ‘Siete
ae ‘Fegte ox ert m “ ssonstseqas at 5

Gd as ¢ megryed fn a ti ali ‘ ;

IV--=35.6

As to So-shiro's earthenware, it says in the Chado-
sentei: "So-shiro, son of Soezaburo, lived in Matsuwara, ©
Kyoto, aa eee allowed to call himself Tenkaichi (The best
of tre world) in the days of Taiko. He lives in veS% now,
and so the masters of the Sen family use his "furo"(tea-
ceremony brazier) during their stay at Yedo".

San eas the furo-maker, lived on the Fushimi road
of Kyoto, near Fukakusa. Some of his posterity are said
to be still making the earthenware at the same place.

Taiko was the official title of Hideyoshi.

The name Tenkaichi was given to the best artists

in any line in the days of Taiko.

Sen is the family name of Rikyu and his poster-

ity.

The wheel-,made jar of Fig. 37 is a specimen of

the So-shiro ware. It is made of a white clay,
though it looks brown now on account.of the oldness.
The design was in gold, but very little of it remains

_ now, owing to the wear and tear. It is fine-grained,
brittle, and light of Wignte The mark on the bottom

reads "Tenkaichi So- shiro".

Ninagawa Noritane.

May of the 10th year of Meiji(1877).

-obsnid eft at evse tb , etewnedd1s0 atortde=o8 od eA ee
° ,Siswuatell ak bevit _Owssm=o8 To moa hese :tetnes
tasd AT) iiotsine? toad tizo ot bewolls eow ms sotovy |
ror: Sey af eevil oH «oxfeT to syab oft mt (bitow eit to 4

god) "oust ain say gt toust te2 ent to aretesu ort oa bns
| «"oboY ts Yate: tient antwe (reissid ‘wrometss |
baort beiee edt mo beviL. _t6Xsm~o7i? ent Otisda~o8
bise 918 utireteog atid to phe » sar slut ts9t , anette q
s9onlg anise ontt 7s stswnsis180 ont Ease peaks io og to
sideoyobth to ‘eltie Latotrre ont 2aw ots?
atalius teed oilt ot nevig asw idotsansT smsn eft
-odteT to avsb_ st. at omit ys at
~testaog aid bane wolth to omen yLimat off et moe coe
ee “ae hin woth age
10 noitooas 8 at ve att t0 xsi bom, « Leedty ent... |

. 7 2yalo etidw & To eben alt $I + oay.<ettie-08 oa.

ypeomhto eid to tetooa.8 mo Won atwortd ‘ailool $i. ig world
“puteaos ¢ at to eleteL Wier tod. rbLog “ esw mataoh aT
pont arg-oat? al: at ates bas seem oat ot ‘gniwo <Won
nodtod: sift 0 tram osit stigtew to tif bas ,elttiad ..

sMotite +08 tdotsimeT" ebser _

sonata sumone | at mS pide cai
5 Me + (P00 RC tant 0, 189% gor =. to. ae

br
Bo Kwanko-Zusetsu

q as ~~ ‘Illustrated Notes on the Antiques
Pottery.
acy Ve

iy Wiesdeus Noritane,

December of the tenth year of Meiji.

pee: 1877.

“aeupidad ed? a0 zodot bedexten

Lis f ;

sEbtoll

: a 98 ; hs

pla

Vo

In the days of Taiko the tea-ceremony was on the acme
of its vogue and the popular demand for any foreign-made
pottery was so keen and general that on their return from
the Korean expedition under this famous general, all the
feudal vassals who accompanied him, brought over some Ko-
rean artisans to their respective domains, where no ex-
pense was spared for the competitive progress and advance-
ment of the industry. Moreover, some tea-masters, or
art-judges were on hand in each province, who by the order
of their lords, were to give these potters any useful sug-
gestions and advices aa to theiw designs, make-up, et cetera,
and to pass upon the quality and value of their products.
‘Under these propitious circumstances, it was more than nat-
ural that the pottery-makers of each province were encourag-
ed to make out the very best of their art, and some of their
master-pieces were presented to Hideyoshi by the various vas-
sal lords to show him how careful they were in the encourage-
ment of industry and what excellent masters of pottery they
had in their respective provinces. It was not infrequent
that Hideyoshi himself ordered some of thesé local artists to
make certain articles specially for him.

How was it, then, that this once prosperous indus-

try became only a history in the following periods?

Unfortunately for the art there came no other Hide-

yoshi who patronized the art and encouraged its pro-

gress. People gradually lost their interest in arts

and cared little about the industry. Naturally, the

artisans were given little impetus from the people,

| ot ateitrs tapos | ben? te. nga betohxe ‘tLsemid ideowes ti teat

; ” on : Hatiag at peeres

smog ad? mo. cod spenetel ent “onike? te ous — aT
ebent~rateret a8 ‘Tot Daswes ‘xaliqod ont aed eirgov att ee
| not gitet stot ce tend Lerenes, bas ae 93 ga: aew yretton |
oft fe Leverton axons eitt: sabes soit fbeqxs aaertoot add
(+0A Soe TAVO tigwotd, atid Betazquovea ogw eiseasv fabuet |
~x9 on exedy actemoh ovitcaqeox ‘thedt ag aswel? xe N58
~pomevba bow wkaxgees evicitegnes: ont 10% bounae aw seme,
be?) aretaen-aet. satoe vevootott AMAR SE ot %o teromr
tebto.sdt ud oitw sentverg noes ‘gt ‘baad 0 oxen aeghsl-t12
-aye Intesy Tae atstttog sondt ovis. ot ‘orer vebtol Bienes? te

,ereTeo de: qi estan. airgiseb ted? oF es ‘peolvhe Saa exbitees

+

satouhorq tiedt to esfav bits ‘GL Tay eds nogit e68g ot fre
~tac oedt -exom saw $f ,eooretamiotis anoitiqot” saedd obal
“geTuOORe STEW sont very ‘ose te “aréfes-yretton ons tact Iau

‘ted? To #oren bins Ree] ‘abst, te teed erev ant tuo esti ow be
=asy anoi see ont we bdgoyeb Zit os Beldonery etew secetq-retesi
<egarsdons ent ne ‘erew ted “fovea wos! ait wos of abvor fee
vent wredt og to. ated aust, tuetteoxs ttn haw ustasbal. te. tiem

‘tasupettes ton dae at | seeoad vor evitoegest tieid at hoot

u ite 08 Yitatooqe asfoitzs aket x90 oem
“saubat erro tagaowy some abst test enoit? ot ew wo.
Tenolzeg ‘gateettor ‘sat ont qretond w gine emeooe ei “ste

Sapling,

~sht sedte oe va ae ae vii ut Uistaastre sy

eters
7 fom aa

ry
BS Led wa

ei oe

ae mt re
ts Lae

Z ee

mn
2 i

‘
*

<2
_ is
»*

ae 7
, a. a
ian gt

Bi?
3 wowt aie ee os a i

im ae oe Ager eee mae tee lin
te iat ae

¢ J ee

V--2

and it did not pay them to exert themselves in .
turning out the artistic things. Indeed, the
Kishu-yaki, Awajiyaki, Bankoyaki, and a few

ethers made some progress after Keicho, but it

was not very long before they began to feel the
influence of the general tendency of indifference
and go back to the wretched state of retrogression,
as is evidenced in their modern products. Kyoto
was the enty exception as to this general decline
of the ceramic arts. As the national capital, it
has been able to maintain its position as the centre
ef urts. Besides, it has many scenic views or
historical places about it which never cease: to
attract peeves artists, and tourists from all over
the country who contribute a great deal toward
maintaining. the artistic taste and culture in the
metropolis. It was due to this special circum-
stance that Kyoto wes able to retain its olden time
progress of the ceramic art, as ares other arts
and crafts, while in all other places this once
prosperous art was reduced to a miserable condi-

tion.

ot due vodokex cont! eeetsorg noe eban nme
end: feet ot neged Waitt sxoted anos: wer tom aan :
eonerettibat te yousneet fetoneg ads te oomer tad: es
Mo lanexgo tier. te state bedteiterw odd ‘et foe og ekaeeas :
otork © atoubote: asebom shed at Beowebtve: at se
‘eatloes fetssos a bit ot ws ao ttqeoxe ohne ond: wo, o

$i fattgee fenatten at? aA’.

oF panes ibs doze: ve duods: aesela (Reape

re

v--3

The glazed ware of Iwakura, which is very much like
a Ninsei, was originated by a pupil of Ninsei, at Iwa-
kura. It has a stamp((%, (2) reading "Iwakura". Some
say this stamp was used a Ninsei himself for the works
he made there, Indeed; -Ninsei did some of his works there,
but he always marked them "Ninsei". It is more than
probable that the Iwakurayaki was discontinued in a short
time, as no modern specimen of ees ware has ever been found.
The stamp reading "Iwakurayama" BB , Which is found on
some modern products is that of a recent Awata potter call-
ed Kinko-zan.
Iwakura is about five miles north of the Heian
Gastle, where some ruins of the ancient furnaces
are said to be still in existence.
Ninsei seems to have been living sometime bet
tween Keicho(1596-1614) and Manji(1658-1660), at
Ninnaji, one ri(2 1/2 miles) north-west of Heian.
I have never seen any Iwakurayaki very highly
decoratéd. Usually they are made very tastefully
like a Ninsei, in shape as well as in design.
The twelve plates owned by Mr. Yoshimasu have an
inscription on their box reading "Bought by Teuteur
mi in the fifth year of Ho-reki(1775) during his
efficial stay". It is by this inscription that
I am inclined to think the kiln must have been in
existence until about that period. They look very

much like Ninsei, only a trifle newer. They are

‘wy bail cies > ’ ime?
Sef.

amos ~~) *otisaael® gatbuer, i

axviow edt ro%: tieemig feanit NE: feat ew es we
ered? axvrow: ate ay ent BES toant® beeiaT Jerod ae

seit ervom ef tr ° "Pesatki™ ‘eit Boattem eyew ie ‘ett tnd ei

tuode @ ot bewnitdooeth g2W Ris ewtsrew! st Paitt efdadora

basot seed teve een etaw ont. to nentosee ftebor or os omkt

no Savet ef doide * "gtecartiiawl™ ‘gatbeet omg te eat

-Eles +63 t eo atoma tnece7 2 Te tadt wt etoubory sre boar ence

nla tb

ete edt to shire eeltm ovis) ‘trode et ouintewt ier

esoatrint tae tous eit to enka onto “erredtw jefteso a

: *, eoketaine ai uiehel ad ot bree sel
a emtteno gaivir ‘need ovat ‘ot anced roonrt

- (ose r-eae retest bag (ars s-8e8.!) osteo een

| nator to daswedtiran { eof tar’ ar are ono Etendtie

> pity tat ad ‘lege resgnt yne nose teved ever ~ nae

_-ertatetiaad vrey sebum ets yeas ‘eitesay

| “smgiaes mnt alk hein as poets at Hoan « s

eal

: ~satve? o gues” 2 sanzbees od. “st i Fees

ee

They are marked "imakura"

Awata is some six or even cho(14 1/2 cho make a
mile) east of Heian.

Kinko-zan was first in Iwakura and was using a
Sthns reading “Iwakura" while he was there, but after
his removal te Awata he changed his name into "Kinko-
gan". It is only of a recent date that the stamp
reading "Iwakurayama" was adopted. The present head
of the family is in Awata, and is called Kinko-zan
So-bei. |

The “mukozuke” bowl of Pig. 1 is ‘@ wWeel-made ives
kura about ihe hundred years old. Its clay and
glaze are both of a greyish white, the latter being
of a lustrous and somewhat translucent sort. The
coating is thin and craczled, and shows some green-
ish, hrownish, and blackish tints here and there.

It is hard and fine-grained, and rather of medium
weight, weighing 48 momme(2/5 1b.)

The Katakuchi bowl(side-mouthed) of Fig. 2 is
about fifty years old. It is also a wheel-made
piece made of a light yellow Clay and covered with
@ lustrous opaque glaze of the Same shade. The
crackles are of very fine lines. It is neither
very hard nor very heavy, and measures 35 momme
(about 3/10 1b.) It has a stamp( ie ) on the

* y 5 P ' i ;
bottom BeOtane ee ae eae bats |
The glazed ware of Mizoro was first made by one Gensuke,

also a pupil of Ninsei's at the Mizoro factory. The stamp

Gals
1 Me

eel Que: bextien ote Wed?

Sane We

8 oxen odo a\t beledo mova ike aks emo ar pews
<neiel te tone (otis
& gatas eaw Bne unten! Pa Goat? a6w ngs-ostnt2 : i | :
nests shes ered sen od etidw "axuaewl" galbser ust ce.
~oumti" ott oman eit beg mio od atews et Levoner eld
queta odd ted? ated tasget é to aya at +r aaa”
hoor doeseta ott. sbatqobs aE "ameyauuntew1" asibees : e
nex - oni befteo @ at baa. | stam si et pliant oxi Sg 20g
| -ted~o8
“awl ehan-toedw a att git te. ‘teactadiabian en? ss
528 vets ett «hfo wxsey bexhamt 0 wt weds uk
arted tottel edt sot ide dalyets s to dtod ete exels -
eof? .t tee Snoonlanett tadwemos bets asrerd astl 8 to
chide SmO8 awed bee bet Oso bs nidt ak anstace |
~oted? bos sted ‘etait dettoaté bas dakoword fat a
sintbea tb vedter bere sbomterg-eqtt bie ‘brett wen !
hoe a 4G ar a\$ ) enna Bb amity tow Pagton
ais ait & to ‘Ubesituda-obte )iwed idosdete% edt

shem-Toedw As ate at oT ‘ates hhh ont those

"exon a8 eomwacen bite “ayrent ww gaps

*
me

. Ve-5
“EP
(Ze) reading "Mizoro", is sometimes attributed to Ninsei,
but the works of the latter made in Mizoro, are always
marked "Ninsei™. Designs of young pine-trees, fences
made of branches, or bamboo leaves called Kumazasa, were
very often used on the Mizoroyaki. They are very seldom
highly decorated. Usually, they are rather classic look-
ing Ser ink somewhat like a Ninsei. This factory was also
discontinued in a shart while. Those of modern maké having
the Mizoro stamp together with a stamp reading "Ho-zan" are
works of an Awata potter of that name, who took a fancy in
the ancient Mizoro ware.

i Mizoro(muddy pond) is to the south-west of Matsu-
gasaki, in the grounds belonging to the Yamikamo
temple. The village derives its name from this
muddy pond. some say, however, it was so ealled
because the Roku Jizo(six Buddhistic Images) are
in the neighborhood, as the characters representing

the name mean "Buddhistic sages". It is one ri

(2 1/2 miles) north of Heian(Kyoto)..

Mokubei, otherwise known as Kyukyurin, was popularly call-
ed Kiya Sahei, and lived in Kyoto about the periods of Bunk-
wa(1804-1817} and Bunsei{1818-1829). This modern master
made very beautiful works, mostly after the style of Yorean
"White glaze" and "Mishimade", Chinese’ Seiji” ana “Akayelrea
design), and very much like the originals in the materials

as well as in the make-up. Usually he used a stamp read-

,feent® ot botudaxtes conttgaoe pra oxi" guibset (—
ayew rs ets sorea.20 at ebom oe Yo, axxo, nt te
eeonst acexd-onty anwar to aigieed | : | pone

- etew saesemy% belle eevoel oodmed ig git

mohLea yiev ote ved :talegores LM edt mo boar setts xiay

»~iool oieasfo tottet OTe gout elton -beterooes ob cide
eels asw yrotasd eid? | -feantt B exir ; er Ne eebetse oe
atived sem cxebom to saod? List trade 2 mt. penaitnopets
ets "tes-oH" gat theet mete, 8 tin todvenes gneta exon tt ett
at “vonet & a907 onw . OMS tart to tetiog otews iss, te eizow
nS euehee sete oxox tit. dno bons: Ma

~setent ae teaew-dinoa ott od ai {bro bbs lords it our

omaex hms” ont ot sntgnoled, abavorg ont nel Diecne

aide mort omen att deviroh sgsiliv edt. sp yetames

bafiso ea. aew. or. Tevewod eee amok ssbaoq gobi

ere (gegen iverapaut xe oat ager edt eamzoed

gat Praesens, exetoetatto ott. pa sooitaeditaten. ost ab

Lee eno ve yr

" alatcatan oat at et

ae aha 4 a bee

V--6

ing "Moku-bei", but a "fure" Give atone const eeine of
a piece of tile, owned by Mr. Matsu-ura has two stamps
&) » one reading “Awata”, and the other,"Moku-bei".

Nanban is a general name applied to countries
south of China, including even some territories
lying west of Annam.

The wheel-made tea-pot of Fig. 3 is a speci-
men of Mokubei's works, made after the style of
the Mishimade of Korea. It is made of a dark
brown clay, and coated with &@ greyish blue glaze.
The pattern was first stamped on and then filled
with a greyish white glaze, lustrous but not very
translucent. The coating is crackled and rather
heavily Tate, but not very fine-grained in guali-

' ty; neither is it very heavy in weight. It, meas-
ures 39 momme(about 1/3 1h.) The stamp 6
reading "Mokubei" is found on the inside of the
cover. The edges of the mouth and the sover are
very sharply cut and not rounded at all, but as a
whole, i¢ does not look rugged at all.

The tea-cun of Fig. 4 is another Mokubei made
after the old Korean ware called Shiro-Korai(white
Korean). The body of the cup was shaped on a
mould, but the foot was made with a wheel. The
clay is white with a suggestion of greyish pink,
and the glaze is greyish white with pinkish spots.

The coating is dull of lustre, rather opaque, and

“todemiot™, xedito. Pere pas = tetaek” Peane oe

”
n

aoirtasos of bottom ombe ‘tet003 2 orate

aeksod irre? ‘oma sve ) gabe TORE onido to ‘dtsioe ie
-msanh %e teow et
ie ay.:

~ toege & ei e aft to toa-ue? ebam- Leos ent

to efgia ont notte shea saxtiow a* teduteit to. som ee .
teh 2 te than ‘*n ar “980% to ebemtde tt edt

.easl3 euid faigers & ddiw betaoo bas Wie. caword

) el

gee
bah

Bh aities ¢
-bellit aedd bas 0 boqmate tertt esi wredtag edt ae:
visy torn ind asottast eset et iaw aaicory & ate R
terier rs beftoato at auttaco oa sdusonlenssd

stan at Howie urer tort to BEBE ulkveed

Sige

ere Teves : ate bis Bie wey at 2 30 evade « eat

©

as aa ‘tnd ed te Behnaroe ton bos tuo vers

fs

ate veer
“tg te x Benger foor t on te ;

Ae ti

V--7

is very thinly laid. The design was stamped on.

It is fine-grained and hard in quality, and rather
heavy of weight, measuring 22 momme(a little over
076. 1h) The bottom edge is very sharp, but some+
how that does not give it a coarse and rough appear-
ance. The inscription on the box reads "Tea-cup
copied from a kenvea. by Mokubei, Awata™,

The tea-pot of Fig. 5 was also made by Mokubei
after a Cochin ware. It was made on a mould ex-
Aer. around the mouth, where it was shaped with the
help of a wheel. Tt is made of a pure white clay,
and covered with lustrous translucent glazes of
green, dark violet, and yellowish white. The coat-
ing is crackled and so very thinly laid that in places
the A is hardly covered. The inside is glazed
with a dull brown water-glaze. It is fine-grained,
but not hard, and weighs 41 momme(about 1/3 1b.),
rather medium weight. The Stamp Moku-bei” aa is
on the inside of the cover. The cever, mouth, and
handle are all sharply cut on the edges.

Japanese tea-pots(Kyusu) of the make-up we common-
ly see these days, were, I think, first used by Ashi-

kaga Yoshimasa,.

De-hachi Takahashi, of Gojo-zaka, Kyoto, used to make cera-

mics ef various sorts, neither very classic looking, nor very

Mee ae

«ite femkets aew Ag tae eT | biel eiaidt yrev ak |
tediet bas Wilens at arsed Sas bomiarg-enlt at Pro a

eve ofttsl aloucion $3 gabiesem tiaes.* to yveed

se@moe tod qtany. {TOV at egbe mods oc od ‘C6. 8\f :

’ =tseqce dagoy bas eaisoo a3 evix ton ge0b tedd wail :
qvo-seT” sheet xoG end = nottghcoatt od .SOMs |
| "at awk (tedustott ved aex97 & next hetqoo
todmott vd abum ale asw 6 .3iT. fe toq-set od?
-xe 5 Leon & go ebsm sew tI .9tst ttisdoed SS weit

edt av tw peanee saw $f erenw dbpos edt basots tao
wel etidw ous s to oben at tI -foodw. & te ated
, to aeaelg tneousensrd asoxt an! dba bexevee bas
ariny ost't wot teiw devel ter base ,tololy alts ,Moety
neonate Et att Biel vats? trv o@ dae Beldoato at gal
boxalg. ag bien ‘ed "bs x9veo yibied Bs. fares sav
beshatg-sni% ak tT > ona tg~retew sword ifgb e ddiw
abe B\t ‘twoda)emnos £% aig iow bas (brag ton dud
ai “bod-uxert queta eit stdgtow moi bear tenn
bits. Adnes T9voo. ext - ,teve0 eat to ebieat odd {to
: -aaghe ott Ne typ viquede {le exe efbasd
~Orited. sw qu sass oa a {weary et oa-a08 saenaqat
aiden’ pin heey. teri int 3 a: sero eyed ecedtt tee 2)
| sasuabiteoy Be

is , . aie 104 Bene? Bi ye a ok oe ah. F # pas
nit Me +4, ge

8189 eden ‘ot Seen, ated atasabe® 30 ieadata ioe
. prey ton arate che coe Ted toe. ae a

V--8

highly decorated) but rather medium of the two kinds, frem
about Bunsei(1818-1829). About Tenpo(1830-1843) he went

to Takamatsu, Sanuki, and then to Himeji, Banshu, te (steady
seha g hc tie industry. Some of his works were made at Momo-
yama, of Yamashiro. He was made Ho-kyo about Fayei(1848-
1853}, when he called himself by the name of Ninnami. He
used a stamp reading "Do-hachi"( 4B. ), or another reading
"Ninna-mi" (2), but sometimes he simply engraved his name
with a spatula.

The hand-made tea-bowl of Fig. 6, very aneted in shape,
is a specimen of Do-hachi's works. It is made of a white
Clay with greyish and yellowish tints. Its glazing is
black, with a glucose-colored underglaze. pre All (iE
glazes are lustrous and very heavily laid, but not very
smooth in their texture, having a porose appearance,
something like a lemon-skin. The designs of Fuji-
yama are painted in a yellowish glaze of strong
lustre and transparency, crackled, but not very heav-
ily laid, Its quality is sandy, coarse, and soft, but
heavy in weight. It measures 83 momme(over 2/3 1b.)

The name "Do-hachi" is engraved near the foot.

The wheel-made tea-bowl of Fig. 7 is another Do-
hachi, made after tie wit of a Ninsei. The clay
is white, somewhat pinkish and ereyish. Its finely
crackled glaze is of the same shade as the clay, and
very thinly laid. The designs are painted in black,
red, green, brown, and gold. It is fine-grained and

seft, but rather porose in quality, something like an

Beh ae | x

ott @batt owt oft Yo avibem xedtat tod Gbedaxeoed yligta
taew ed (ES61-986L )oqaet faodh | .(es8f-8£8r) reaana toda —
asters odanee Abonts ar. nods Pee tdvae? (WatenedeT
eae dea eben 9r8W attew ata te @moe - <Vitedhat ens |
~apailicyed tuods oys-ol esas BaW eH .oxidasasyY to. eney
oH ,imsantt te onsm odt yd vieests” belles sf aedw ,(ocei
Bitters tedto me <@ Be & \"txfosd-00" gaihsst qmeta a bees
emen ata beversae eiquts od sents ome og (Q "bein te”
| ! [atstege tin
,eaece at meverti yiev ,a are to Iwed-set ebem- based an? ;
od totw & to ebam at x 4 vaxtow a'idogd-of 40 meatosga wet
at Seay atl .etalt telweltey bae datyerts dtiv yero
ieee Woo ess tgiebns betolos-scconty a at iw jdoatd
YIsv ton tid bial ylivend erev bos avottest exe eessls —
sonetssqas ‘eeotnd 8 ahead ,exutxet {edd at dtoone
. itat to angt ase oat ge boten some f #® exit gnidtemoa
giorse %o exalts defwolismy eg af betated Ste SiLey
~veed wey ton tod Setter {yoroteqatext hae. extant
gud (tee ake 041808 Vbawe ‘BE tiffany. att bial “fi
(.df 8\s tevo Yanna G8 eextenen $i .tdafew at yveed
too? att: tas ct bovengias ai "tnoad- Gu” emat edt
=o tettone at ) ait to fuod- “ad shan-Leeiw eit |
yelo edt - .teaalt 8 to otgte ont tetts eben | ifoad
eleatt ett da tyers om dptsnta testwaicbn ‘ot Esti et
fae ,qeto ast ae shade ease odd to et exalts ct cea
sfoatd nt, beotaiea, aoe aagiae et wbbed. Mast, qrey
. bas beaievg-enit ak af. bts bre sO, 50973, yer.

its ak cihiau » ak. suonag tmites # bare Tee :

V--9

earthenware. It is of medium weight, and measures
65 momme(a little over 1/2 1b.) Near the foot, there
are pce ee brush-marks, amid whieh his name
Do-hachi is stamped. .

The wheel-made bowl of Fig. 8 is another Do-hachi,
made after the style of a Kenzan ware. It is made
of a white clay with greyish and light yellow tints.
The glazing is of the same coler as the clay, but has
some pinkish spots both inside and outside, like some
Forean wares. It is crackled, lustrous, slightly
translucent, and thinly laid. The design is in blu-
ish black, biagiesh lieht blue, and white, of which the
white is rather heavily used. Its quality is rather
coarse, soft, and rather porose like otk earthenware.
But its weight is fairly heavy, and weighs 133 momme
(1 1/10 lb.) ‘There is a stamp reading "Do-hachi" on

the bottom. (Space 4 tine ph es nee

Rokubei Shimizu, of Gojo-zaka, Kyoto, lived about the

periods of Bunsei(1616-1829) and Tenpo(1830-1843). He

made pottery of various sorts, but mostly of the classie

looking type. His stamp was a hexagonal one with the

character "Sei™ in it( (% ), the first letter of the

family name, but on some pieces, his name "Roku-bei" is

engraved with a spatula. ( By Le

‘The wheel-made tea-bowl of Fig. 9 is a specimen
of Rokubei'’s works and is oe of the so-called
"yellow Irahe" of Korea. Its clay is pinkish white

and its glazing is yellow with a slight suggestion,

es ete toot edt ‘teat

pee ae 59 fipe19 ar Oe

yltifet fe
iutd wt €b mgiseb eft © : a
edit dokdw te ,etidw Bas a “eee

“erttet ot yt temp, edt bees eb vest xeddex ar”

1

soxammedt tre ‘iB eat seetha Aodtes bas | tee sae

V--10

of the earthenware Ree ees of lustre and scarcely
translucent. Its quality is Sandy, and coarse, but
it is hard and heavy, and weight, 58 momme(a little
less than 1/2 1b.) The name "Rokubei” is engraved
with a spatula near the foot. ( fm 7

The hand-moulded incense-box of Fig. 10 is another
Rokubei, made of a greyish clay, covered with a glaze
of the same color. The crackled coating is not very
thickly laid. Part ef the design is in dark brown
with a few yellow attentive It is fine-grained, hard
end heavy, weighing 57 momme(about 1/2 1b.) The hex-
egenal stamp ( is on the bottem. The shape of
this bex is called "fukurasuzume"( conventionalized
Sparrow), engraved after the style of a Naro-ningyo,
an olden-time wooden image, used to be made in Nara,
which was carved out with just a few strokes of a
knife, yet very naturalistie in effect. (This doll

is still being made in Nara.

The early members of the Yeiraku family were only "furo"
(tea-ceremony braziers)smakers. It was this family that was
making the "furo" to the order and taste of the famous tea-
masters Shuko and Sho-o, which are called the Nara-buro(MNara
braziers). The first head of the family, So-in Nishimura,
popularly called Zengoro, lived in a western portion of Nara,

where he used to make the earthenware for the use in the Kas-

ia en oe

Cieorsos bas ettest Yo pe ene oxewnodt res. eit. to
ted ,sats0o bas gvbaue AE Gatien aft,” anicninnans
eL9220 alenmom @yadatew baa , vveod hop -BSDted al, ti
bevatane af Ter, asa ef? (,.0f 8\f oodt enol
“a 42) }.te0% nk vaca sinteqe a dtiw
| tedtons et Of ,gt% te Rod-sareont ‘Beblvom-bast of?
esele e Aiiw bareves elo deiyera a to, ebaa ftediniol
ytevison eat gxiteos befxeexs oft stolop emis edt te
mvotd xuab mi Gi mateod odd te trot biel. yldoidt
bret ,bentera-enitiet tL, .edsetse wolley wet & ddiw
~xed ed? -(.d5 S\L doda)lemmon SS guidatew., ovsed bas
te eqede od... gmottod edt mo al (t qnisd 2 Temege
posi lenoitnevaop)"eawamae rut” befiso ei xod aitdt
orgnis-o7at s to sfyde oft telte Bevetgas ,(worxeqe
sate ei sbwci od ot SOAF, hai nahoow smit~cebLe ise :}
2 te novotie wilh: 8. text dtiw duo Dernio Bat do idw
Lieb aint eats nt bhi t Lenard vrev dex ,otind

aa 28a ts eben gated Lite at

"onut" lao orto wbtniet arte ott ke eee dass ides edt

F

asw tadt yf Lust “eid? aew a1 893

se\erotaesd qaoner99-s08)

~ Bot asomnst ord *o otect bus tobt0 ont ot “ost? ont ‘gation

axel )oxsd-orst et pelfas ets: dotdw. (on bd? bas oust? exoteam

stambce Lt at-o8 ebimet oat to beod tantt oat : .(atsiserd
sonogmes bellso Ylsatwaog

~Bat ont ae oad ont. oh oqpeaed-zn0 od? exes a, om ood
ot : ee RET etcane

,8tall to 01904 wroteow * at pov

V--11

uga temple, with some other unglazed wares. He died in
March of the first year of Yeiroku(1558). The surname
Nishimura was taken from the name of the village where he
Lived.

The second head Se-zen| Fy B) was also popularly call-
ed Zengoro. He moved to ee ee of Senshu, where he died
in November of the third year of Bunroku(1594). He
used a stamp reading "Kanayeshi"(caldron maker).

The third Zengoro was also called So-zen( % ). (The
Japanese character "Zen" of this So-zen is different
from that of the previous So-zen). | He moved from
Baked to Kyoto and lived at Tenjinnotzsuji, Rokujo.
Nishinoto-in, Shimokyo. Later, at the instance of
Hosokawa Sansai, he moved to Anraku-koji, Furmachi,
Kamikyo, which street is now called Furono-tsuji
(Furo street). Generation after generation, his
successors lived in this place. He died in Febru-

ary of the ninth year of Genna(1623}. The copper-
stamp used by this Sozen was written by FKobori Yen-
shu.

The eleventh Zengoro, later Zen-ichiro, son of
Ryozen( S ), the tenth Zengoro, was called Hozen
(Am be He not only took up his family trade of

pottery making, but he was a verfect master of the
art, especially in making MIG os after the style
of a Cochin, Shonzui, Sometsuke, Seiji, Kinrande,
and various others. In the tenth year of Bunsei

(1827), the lord of Kishu, Tokugawa, induced him

ab Bop alt: Ve |
SINE Me “ slaBAE etoate to <aet tout ott rel
ed etedw niacin adit tor Sis. ‘wee: nor: motad cow weumbtet
eae : | 4a le eh

- Igo tlrsisqog oale asw — bees uooee eat
belb of exter eeme? *o faalee os ‘bevom oH :

oH (RO8L anton to. 109% brid edt to oder Rack 3

a ( reste nowbieo)":ieeyensx" aakbsot mate @ bees oo

ed) (Sao sbed ‘peffeo. odie on onogces Babid est ae
dtaotettib et met- oe: aiit to "mek" tot oexect0 ossnenet
mort baven eH .{mes-08 andiverg oat to tact: most
otsnto# ELvemb ois toot ts. ‘pevil bas. preeen ot! texen
‘ ponetant, odd: te iota’ -oystomesa ante ovontiatn
fdosatsT Ebest sslenm oc isichersy ad sense swaxloeol
“Bsat-ororet hotles. wort er tesute spketw: imate
| “aid wortaredes site. gottsrened ° Mteonte ort)

-stdeT mt beth ot -doalq, aks ak bovit etoaassore Hes

-teqr08 edT (888.1 amnes. to. sey doaka et, to ae

- ateY Exodo% td sottiiw agw menoe abdt vd boas J aaete

tet

V--12
him to come to his province, where he started to make
the so-called Oniwa-yaki(baked in the garden), as they
were made in a garden belonging to the lord at Nishi-
hama. This dignitary employer was very much pleased
with his works and gave him a gold stamp reading"Kah-
ishirya" (1B ), and ea silver one reading "Yeiraku"
( a is Mie industry there became so prosperous and
his name so famous, that he was patronized by several
other lords, princes, and millionaires,such as Mitsui,
for instance. This patronage from the dignitaries }
and millionaires gave him opportunities of examining
their invaluable treasures, and studying a great deal
about the manufacture of various rare ere: espec-
Salis oe the Chinese style. It was about this time
that he began to call himself by the name of Yeiraku.
He made a replica of the famous "furo" named "Yo-mei-
ro" owned by the Konoye family, for the Takatsukasa
family. This latter family honored him by giving
him a stamp and a calligraphic writing both reading
"Do-cho-ken". The prince of Arisugawa also gave
him a very eulogistie writing. All this success

Coram

and popularity did not satisfy this,master artisen,
but simply encouraged him more and more to carry: on
his experiments on making a white Daten ware or in-
proving the quality of several colored glazes.
Year after year, he was occupied in these experiments,

Sparing neither time nor expense, until he found him-

‘Sf--¥ a
exiea ot bettate edt osodin peer ary atid of yree of abd
yest as + (me btag ord at boxed ) i7lax-swin0 pelfac~on ont |
~ tie tM te bro odd. of Batgno ted ‘nohsEs 8 oe ehast erew
beasely ne Trev ese Porntane, yredtmats ata? - amor
~dei"gatbsot quiets. bros & mid evap bap ed eka adiw
"alexte®" gatbeet edo evita ¢ bre .( i ym myrtalat
Ste ano 7859924 oe ones nf ad vsteubat sat a | o }
lezevsp qd hex taozteg aa ed ted? vesromat 08 etect aid
tet ts ea dose seakeno tition bia ,ssonttg ebro! ‘tadio
eetzed iat’. eit oat egenortsq aid’ oonsteant tot
satatmsxe to aettinwtzoqre mid eves aerionotitim Rinse
feeb tsetse a aceebate bas jaemuanet? eldeslevat ated?
| Dobe aie OTL etex evoitey to Sse oer aha ont trodes
oat ‘ated tyode aid 97 “soli oogated, edt Tol iifat
nkeriet to emer, arts wd: tfLoasid tteo of seged or tostt
~ kem~o%" besua "oent eso’ odd to soliqer 8 abast ol
sedduet eae? ont “0% cline? ezomoX edt yd bexwo "ox
. _aatvia wd win boxonod yiimet tedtal aldt wikwet
| _Batheos aitod gett iam Siifqers tied s bas qtisita r) mie
eves ou La swagire tA ty sont rg oui? i nceastea it on”
aasoona atdt cfA sqmkt i Ian i phe yrev s ‘ke
aoatss seen atat ‘ytative Sox bed Giraimgog Saw
ao vyrsss ot Nasir hale eros obit bege'yoone: eiamee tard
pt TO oTew dotot ed ta 8 Bee: a0 atuomt toqxe aid
-sosalg hexoton. Lexoved 2o wifes eat gatvorg
\otdomineqxe ocedt at betqaono, sow on, oe reste reek
ante basot onl fbtom ret be al a sedd tom meet

=i 7 i] ' } . : “
eee se et Es ee Te he ce a, 2 ae

V--13

self almost penniless when he was burnt out of his
house in April of the seventh year of Kayei(1854)
by the fire that destroyed the imperial palace.

To this enthusiast, who had spent almost all of his
money for his experiments, this calamity was almost
fatal, and he was forced to leave Kyoto in despair.
He went to the southern Gésshu, where he built a
little factory near Yenman-in temple, but in a year
he moved again to Yedo, where it was his long cher-
ished desire to go. Being unable to re-establish
his industry there, he cane back to Kyoto once more,
where he died broken-hearted shortly after.

The present Zengoro is the thirteenth head of the
family. He is running a factory at Ichijo, Aburano-
koji, Kyoto.

"Naraburo" is an earthenware "furo" made at Nara.
Sansai Hosokawa, otherwise known as Jadaoki, son
of Yu-sai Fujitaka, was called Yoichiro, while young.

He was a councillor to the throne, Lore of Higo and
honorary lord of Yetchu. In the sixth year of Genna
(1620), he became a priest, whereupon he called hin-
self So-ryu Sansai. He died in the second year of
Sho-ho(1645), and his ashes were buried in Ko~so-in.
Instead of a tomb-stone, there stands a stone lantern
which had been a treasure of and bequeathed to him by
Rikyu, under whom he studied tea-ceremony.

Yeiraku is the name of a period in Chinese history

éf-- ¥. ae

aid to tuo torrid eow od nody aceltaneg taomle tLee
(naar )beysk to Te8y dtmoeves edt. to head ict sarod
- ,eoefeq feiteamt edt beyotteed due exes edt yd
aid to Ifs teofe taeqe bad odw ,teetendtae aid? oP
taomis egw: vt ina tae aLat. jatuemtreqxs aid tot Yonom
tisqaeb ai .ofoyk. sysel ot heoxtot anew od hae ated
2 tiind ef etedw mites? mredduoe odd of duew off
te0ey e at tid ,ciguet at-memreY tsen yrotest elttil
~teno anol aid esw tit etedw ,obeY of mags bevom ral
datidetes~er of efdenu gaie@ .03 ot ericed beset
otom,. soo ofoye o¢ Moad émeo od ered? yxteubat aid
_ . tette yittone betzesd-nexord be Lb od ozodw
ods to are dtnootside edd et otTogmes deccaun jee
~onetirdh. OLtdor te. rote 8 ‘gackaeaure ai oH .¢linet
/ } “Totoyk .ttow
etal ts eben Monts? enunnedftas. fe al "orders"
roe ,tfoubs? Be wont ‘eelwradto ,sweioaoH teana?
- QiLssOy List ottdo bot befigo euw etetity tee-nY to
ssi ogi to Stadt: sox? odd ot tofffonsoo #2 asw oH
sacred to 128%, ddxia. oni at _ shilote® to Brot yretonod
-nté befles odnnperetety eeeinee onzood on (08a)
3 198% ieeoee. ad? et beth oH staambe wys-08 tfoe
t-0e-eX at Deieod orow eostas aut. bos (8daL)od~ox2
sretagl erode a abaute evedd. snot e-dtot a to ssotanl
vd otal. ot podtacsped ‘ana! to oweses 2 soed bait fo tdw
e -qromoteo=aet ‘petbute of icstw tebaw moles
qrotald esentnd gt Borreg #. te enon edt ak ‘pletteY

AES

V--14

in the Ming dynasty, during which several beautiful
ceramics were produced. This name was given to Ho-
zen, aS his works were as beautiful as the Chinese
ware of that period.

Hozen was first intended to be a priest and sent
to Daitokuji, of Yamashiro. His prospect in the
momastery, however, was not very promising. But
he had a wonderful skill in the manufacture of pot-
tery. So, after all, it was decided that he should
better be adopted into the Nishimura family.

Though the Yeiruka-ware derived its name from the
Chinese ware of the period of that name, yet it was
Hozen's ambition to excell its Chinese original.
Anyway, it is one of the most beautiful wares of mod-
ern times. Those having gold designs on the red
ground are especially prized; next come those made after
the Cochin ware. |

Mr. Akazawa told me that Takano Cho-yei, a pupil of
Udagawa Shinsai of Tokyo, used to live with Hozen and
Sate him lessons on chemistry of glazes.

The tea-bowl of Fig. 11 was made by Yeiraku Hozen
after the Ninsei style. It is a wheel-made piece of
a greyish white clay covered with a lustrous translu-
cent glaze of the same color. Its coating is thin
and finely crackled, The design is in gold, red,

green, and light yellow, of which the green an@ yellow

bin-V

intitneed fst9v98 ‘Ho Estw gata: ‘VWasays anil éa3 } ae
~OH oF sevig dew omen afdt . peoirborg otew asLaasep
esontdo eat as Igtituesd ae Stew antow did es 198
| ,boE Teg tad? te otay

tme bas dnetae 6 ed of behastixt tarit saw chant
ent at tosqaott aik -oridaausY +6 _tbuitot ted ot
ne Que imesd yEsv fon asw , kepada ‘Cretesmon
~tog to eittos tinem ont ad rete futashaow @ bed od
bisode od teas: ‘Bebtost aaw Sf jis ‘totts 202 ered
“eb taat stumiderla odd of ak ‘botqoss ad rotted

ods ott Os asi Soviteb oto sautteY ont. dggodt
,_ 28" ot tet , om. fast to" ‘potteq ode ae ‘emsW esantdd
; _ (famtgiso seenidd’ ati [feoxe oF mold boii a'mexoH
=bos To aoter Entitnsed Faon ‘eft To emo at oe eTewyod
ber edt no amghesd Blog gaived aod? «' ,eemis-a%e
are ebac ead? anos txem “bee itg tiletosqae STs loca
| ,-9Tsv gidood edt -

to Chane: ‘8 Foq~odd omexeT tect ex blot gwasadA s<M
hos mesor ‘ghee evil oF been” .ovdoT to feacide slibscacedel
«eesals 0 eiweimedo 40 anoeaéf meet eves
seiet) wtanket ad. ‘obaat ‘aew- If -gkt te twod-se od? Pi
* ¥o eostg ‘ghan-Leedw~ a: ai er efvte fsanit edt ‘totte
~vfacatt exditest s cittw pereves yeio- ot idw datysts 2:
“ide eb anitdos etl” -teloo, emed ont to sseig tnoo
‘per’ blog at GF miteod ‘edt othe ltoere yledtt bas
noftey boo deeds Sid “MSidw To woreyteRt! baw .8eT3

i. Se - 5 ee : #
li uaa Guat aek “BEX Abe thy
ae é “d _— : ‘

Ve-15

are rather heavily used. The guality is hard, fine-
grained and heavy, weighing 56 momme(a little less than
ape Pee There is a stamp reading "Yeiraku" near
the bottom.

The incense-box of Fig. 12 is another Hozen, made
after the style of a Cochin ware. It was shaped on
a mould, but the inside was shaved off a little and
made even with a wheel. Its clay is greyish white,
and its glazing is lustrous, green and yellow slight-
ly translucent. The crackles are so small and fine
that they are hardly discernible. The bottom is also
very thinly glazed, though not crackled. It is hard
and fine-grained, and medium in weight, weighing 26
momme(slightly over 1/5 1b.) There is a stamp on the

bottom reading "Yeiraku".

Yozo,who lived at Gojo-zaka, ‘yoto,used to make various
sorts of ceramics of the classic type, like Rokubei's.
some specimens of his are marked with a pentagonal stamp read-
ing "yo-20" (By » While others have only a written mark read-
ing the same., He lived from about Bunkwa(1804-1817) to about
Kayei( 1848-1853).

The wheel-made "konro" brazier of Fig. 13 was made by
Yozo after the style of the Mishimade-ware of Korea. ‘The
clay is greyish brown and the crackled glaze is greyish

light blue, lustrous and translucent. It is glazed on

’ Bken¥

~ontt Rs" at eit tesp ont? beat breed Rates ets
frastd sant ofstit “# )oainon oa auidgtow awvsed ‘bas bontera

ie

1808 "itexteY* galbeor ee) amet 8 al ‘eredT Us dr°s\r
on, smottod edt
© beat 90H! redone af ef att to xod-sactsont edt
ro beqaste ABW oI .etew atdood Ps to eiyte odd yetits
bas ofttit s tto Bevade aew sbient add tid bLvom 8
otidw deiyers at weae att \Teedw s “ddim neve wena
~tdgtte wolley baa eer anortas! at auishtg ads bre
entt bas | Ifane og ets ge [soe 19 edt Snooth lanest ‘ee
oats al modtod ed? - oldinxeseth eibied ote qonts ted
brad at $x ! .beitosto tort gio boxslg viniat yrev
as an ‘idgtew dtatew at aunt bem Hree ‘beatars-enit bas
edt m0 qmste 2 @£ eted? Ge df a\r Tevo ultiigt fe )enmom

fons

| .“glexteY” gaibset mottod ”

asioktay, exten ot boas oto (8288-0500 te bevil odw,ox0Y
a) hedisiog axbt eat atevare exit to: goimenao to. aftoe
-Hbeor qmatea Lanogetneq @ atin pextam ete gid to anemioegs, smo0c |
~baet wrest asttixw &, xi evan atedto efidw 4 GE) "oa-o¥" gat
trode of et LEB POE trode mort. Sentdiad.: / Piles edt, gut
iid Se moar ree ae ree a 2 (B88L-8h0L) Lover
yd ebem sew: SL: wRtT to: teisesd Mounon”: sbem-Loade ed.
ed? - .2ex0 ‘to oray-obamdattt edd to. otute. eit setts osoY
delyerg at exela 5 beldoazo ond bits. ford deigertg al. yelo
co posal. aa ee r re bas awortest see ddgit

V--16.

the inside also. The design was first stamped and then
filled with a glaze. It is hard and rather coarse-crain-
ed. It is not very heavy and weighs 210 momme(1 3/4 lbs.)
There is the hexagonal stamp on the bottom » reading
TLOZ0" The grate inside is an unglazed affair made of
a white clay, soft, brittle, and somewhat porose. Lt is
light of weight and measures 43 momme(a little over 1/3
1b.)

The incense-box of Fig.14 ig another specimen of Yozo,
made with a wheel, in. the style of a Ninsei. The clay
is white with greyish and pinkish tints. The bustrous
glazing is of about the same color as the clay, but
slightly bluish. Its inside is, slightly glazed, but its
fitting edges, and the inside of the cover are bare of
glazing. The design is in a translucent glaze of glu-
cose color, tending to dull dark brown. The quality
is hard, fine-grained, and of medium weight, measuring
17 momme(about 1/7 1b.) The pentagonal stamp on the

pottom reads "YO-Bo".

40-roku Mashimizu lived at Gojo-zaka, Kyoto, and made
various ceramic wares, not extremely classic looking, but
_ not very highly decdrated. Old Korean, Chinese, or Annam
wares were used for models. He used a stamp reading "Zo-regk
ku, and another like this reading "So-sha(?)". He

lived from about Bunsei(1818-1829) to about the tenth year

,di--¥ r lag

redt bose beqmeta taxrit asw maieeS edt oals ebtant odd
-ater3-eare00 tetvet. bis bred at $1 : -onely 8 ddiw beLlit
(.adf b\S f)emrom 9f8 adtatew boo yvaod yiev ton ai oi | be
euibset , Botte eit so quete L[emogexed edt ef ered?
to sbam ttetis besalgns 1s ef eblent eters edt s"ogo¥™
at tI 4..ee0tos Sedaka bos ,elttind. .ttoe ,yslo etidw es
S\fL tevo elttil e)ecmonm 8). aetwvasem Hie ttigtew. to tigil
| | | (dE
,O80Y to ee as a redtots bt bL.Gi% to xod-sansou! edt
telo ed? -foanii s to. elyte edd. mt lesdw dd tw phan.
arovtamg ed? .atott datstate bos deftyers diiw etidw et
tod ,yelo edt as toloo emea edd tuods to ef gitssls
ast tod besale vftdalle ef ebtent atl «fatgtd eiidatta-
to ered ete Tevoo edt to shiant edt bas ,eegbe guitt it
~tia to oxels tavorlenssd @ KE at mgteed oiT .gatsslg
ytifesp sdT owotd wreb [ish of guibast ,tofoo 9809
artisassm Jdaiew mpibem to bas ,benteta-entt ,bted at
edt mo .qmete [ecogataod sdf) 61(.di.%\f twods) emuvom TE
2 “og-0Y" ebheex mottod

ebest bas (Ot oy, salea~o fod te bevil ve toidest sao t~o8
tod ,guixool ofeealo ylemertxe ton ,eetaw pimerés asohrey
mennA to ,eeenid® ,feetoR BIO .betsrdeeb Yligid yrev ton
:Mert-o8" gnibeet quate 2 bees ei: Jalebdm 0% bees SroW 2e1sw
. a +" (2 )edte-08" gatheot & aid exit vedtons bos st
ta9% dene? edd. tuode Od. (@206-8.18L)keansd tqds moxk evil

tiling Seis

V--17

of Meiji(1877).

The tea-bowl of Fig. 15 was made by Zo-roku in
the style of a Korean ware, popularly called Gosho-
ey It was made with a wheel, except the foot
which is hexagonal. The clay is pinkish grey and
the glaze is pinkish white. The coating is lus-
trous and. opaque and has no crackles. It is fine-
grained and hard, something between the earthen-
ware and the stoneware. It is heavy and weighs
70 momme(7/12 1b.) The stamp is found on the
bottom.

The wheel-made water-pot of Fig. 16 is another
specimen of 4Zo-roku ware, made after the style of
the old Unkwaku of Korea. The clay is of deep
ean and the opaque glaze is lustrous blue of a
greyish tint. The.coating is fairly.thick, and
has no crackles. It extends to the inside also.
The designs of flowers and storks were first stamp-
ed on and then filled with a glaze of a little light-
er color than the ground, except on the beaks and
legs of the birds, which have a greenish tint.

It is not very fine-grained, but hard, and anes

18 momme(1/7 1b.), rather medium weight.

The Otoyaki was originated at Oto, near Kochi, by a Korean

ceramist called Sho-haku, who was brought over by the then

¥i-+7

3 : (SL) tt fom to
at sfot-o8 yd sism eaw at -3i¥ to L[wod-get edt |
-odeod belles Yltelsqog , ST BT npetos a°'%8 efyte edt
toot edt tqeoxe ,feetw s dtiw ebem esw tI .srem
bae Yors dafwsig af yeto ed? .fenogexed at Wotdw
~aul ef anttedp ef? © .etidw deliuntq-et esatg ont
-snit at $1. .eefdesto on eed bone expeqo bae audxd
~itedtxrse9 edt. moowsed gniddemoe ,otad bas beaists

d@iatew bas yvect at #1 .otawenode edt bos otew .
eit ao havot al a quiet a od (.6f S£r\S)enmom hy
, | aottod

‘weititona sf of ,gfF% To toa-tetow Chin Vedhwlaxt

to efvite ott s0dte ebem ,otsw siot-o8 to memtosqe

aec’ to ai eelo od? .aetd% to wdewsnU Blo edt
ge to enfd avortesl at essfs anpsqo end hari sword
boe ,foidt yltftat at antisoo ett tard deftyetg
.oafe ebtant eft od abastde tI “Leetdosio of aad
-queta datit stew etrote fits atewolt to angiaed ed
wtdgif efdtif @ to esaig « déiw belftt meds bas mo be
bas eieed eft so tqeoxe’ ,bavota edt nedd xofoo te
atait datneety 2 eved doidw ,ebtid edt to agel
adotew fos ,ftant dud botieta-ontt yiev tom af tT

tislew amibom totter: {df -'\flemmom Bf

faeilor s wd’, £dood teen ,oF0 te Bétantatto Bew tdeyoto edt
nedd eft yd tevo ddfasow sew odw wied-od@ bella taimeteo

V--18

lord of Tosa, Chosokabe Motochika, on the occasion of
Hideyoshi’s Korean expedition. The earliest wares
were made of the materials brought over from Korea;
both their clay and glaze Seine of the earthenware

| color. Some pieces I saw were fine-grained and
very thin, like the Korean original, and were cover-
ed with a dull, opaque glaze. They were decorated
with designs of a white curtain and snow. Those
made of the Tosa clay are a little yellower than
their predecessors, both in clay and glaze. Their
glazing is dull and opaque, o-dthenrquality is not
very hard. The designs are, like a Ninsei, put in
gold and silver, red, green, light blue, et cetera.
The clay came ek Cee about two miles and a
half west of Ko-chi, evidently discovered by Sho-
haku. The furnace was built in the same place
where there had been the old earthenware factories.
Some of the products hdve designs of storks and
pine-trees, claimed by the villagers to have been
painted by Motonobu. Sometime later, the factory
was moved to Nochayama, but the products continued
to be called by the former name of Otoyaki. The
modern wares are finished in a lustrous opaque
glaze of bluish white. The manufacture of the
earthenware was also going on even after the advent

of Sho-haku, and they go by the name of Oto carthen-

bree |

to. no tesooo edd no ,euidootolf sdaxoaodd) ,2eoT to brol —
getaw teoilxes edt motdtbecxe neeroX e'EdeoyebtH
seed mort TevO tigsotd @fetredem edt to sbaem stew
ersinedtuse edt %é pabed ote ty hae Yolo tredd dtod,
Sne bentsrg-oait etow wae T aeoskyemo®’ © .x6Lo0
.tevoo etew bis ,fastgtio meetoX ed¢ oft \atdt yrev
betsrooeb etew yodT ‘esets espaqo Rae: a tin be
“ea0nT wore brie otetiw5” et idw 2 to ematasb atin
nedt xewolley efttil e ete alo eeoT edt Yo ebeat
titedT .esetg bas yefo at diod ‘ Btoeaeoshetgq tiedt
Son ef Uti lexpiedT to, expsqo Bre Tish wf gnisels

ni tyq ,teent® s ofif jets engizeh 6x? © brad qev.
.81etseo Gee fiigtt ,keets bet tevite baa blog
# Boe eellia owt trode ‘waeksese abet euss telo oat
~ode xd petevosel® ylenebive ,tdowol to seew tle
eosld emee® itd at #fied esw eosanwt od? riled
wetvedoat’ ebkmned2 ene nfo ent seed bet ered? stedw
"hue aattode to emaleeb svat atombotq eft to ome |
reed evad oF erogelliv add yd beutefo 2eett-snig
vrotost edt total emi demos wwdomotolt ed bovine
benittinoe ateabors ett fod ,emeyedsot ot ‘fevon aew
bit lL adeeeeo ‘to oma momrot eft ¢d belles od of-
enpaqo avorten & “et betetht? ere eetew mre5om
ent to Pe oat od iotw gateie to enaia
tusvbe eft tettse asve mo gatog cele caw exewnedttes

~fettrse of} to-smien edd yo on edt *bas ,waed-orte to

Ware.

V--19

In Imado, of Tokyo, earthenware of a very similar

kind is made, which is also called Oto earthenware.

Oto or Otsu(small gulf) was so called because
it faces Ohtsu(large gulf), which latter is about
five miles east of Ko~chi.

The first Korean expedition of Hideyoshi was
in the first year of Bunroku, and the second was
conducted five years later, in the second year of
Keicho(1597)}.

Chosokabe Motochika, of the Hata clan, son of
Ju-kaku, lived in Tosa, reigning all the Shikoku
Isiand for some thirty-seven years before he be-
came a vassal lord to Hideyoshi in the fifteenth
year of Tensho(1589). He distinguished himself
under the latter as a brave general. In spite
of his warlike training, he was much of a man of
letters,especially in the line of Hokku(verse-
making¢, which he studied under Ninagawa Do~hyo.
He was always a member of the verse competitions
held at Hideyoshi's Shu-raku palace. He was
sixtysone years of age when he died. His an-=
cestor, twenty-one generations back, is said to
have come from the imperial family of China, six
generations off from the first emperor of the
Hing dynasty, and lived in the province of Shin-

ano upon his naturalization.

Ninsei of Ninnaji once studied under Sho-haku.

ete

teliate xOv & te erawmods Leo orto? to , obastl GE. .etsw
.otemtonttae ot Asiigo 0G Le al Hotdw 4 OD.8m at Sata |
sensoed Belle oe Bae Ati, [owe }et0 to of0
tsode at mite lt do fdw (Diag ogtel)seddo aeost er
| _,. rtie-0% to tease eefim evit
aaw ieoysbtk to wo td tbeqxe. nae t0X tarit od’? .
eew bxooee odd bag ssfotowt to taoy tarlt exv of
to tsey Smooea isiicci B18 y evit Setonbaoe
| . _ | -(VeeLjodotex —
to roa alo atsH edt To atidootol sdaxosodd
wxovisde edt [fe gaimatet ,seoT at hevlf irhake
_.=od ef stoted arecy aeves yo tidt omog 0% Aaetel
‘saa edd ok tdgoyebin ot prot’ feeder & emeo
> treamtst betleivanitats ss a -( 988.£ Jodane? to HAY,
eviga ol sleteneg evetd 2 as tovtel edt tehbay
to nem a to des eaw ed ,gutatett eadfitew aid to
oarev \unisiok To eail edt mt {listoeque.sisites
-9y¢d~od sragentt te bar Belbute od dotdw .eaiciem |
ano lt iF eqmop e2tey ody to xedmom # ayewle Bai oH
aaw of seoatad she tm she a! ideoyeb 1a te bled
— ait abet od Facial 93. to axsey exowytxte
ot bise Roig doad emoitwxemey eto-yInews | emeteae
“ate fee) to ‘Uimet fatxequt ont aor t entoo eves
ont to ToTeqme text ott ot to ‘enGitarone3
~mide ‘to gonivorg edd at bovil hae ytesstys aaide

ssoltees ins cute 8

ae A Aly = Aes

V--20

Motonobu, otherwise known as C-inosuke, was popu-
larly called Shirojiro. He was honorary lord of

Yechizen, andalio-gen. Yeisen and Gyokusen were his

other names. He died in June of the second year of
Ik.
Yeiroku(1559). (By, Gwako-benran. )

The wheel-made tea-bowl of Fig. 17 is a specimen
of Sho-haku's works. It is made of a clay of the
earthenware color of yellowish and greyish tints,
and is covered with a lustrous opaque glaze of the
Same color. The glazing is lightly laid and has
very fine crackles. The design is in gold, red,
white, green, and black, all of which except black
and gold are rather heavily laid. The red is
rather dull of lustre, but the white and green are
lustrous and somewhat translucent. It is fine-
grained, but not very hard. It weighs 65 momme
( a little over 1/2 1b.), rather medium weight.

The wheel-made tea-bowl of Fig. 18 is a speci-
men of the Ctoyaki, about twenty years old. It
is made of a clay ofagreyish earthenware color,
and is thinly covered with a greyish Light blue
@laze of strong lustre, crackled but no€ translu-
cent. The painting is in white and blackish
light blue, of which the white is somewhat heavi-
ly laid. It is fine-grained, hard, and medium
in weight, weighing 45 momme(a trifle less than

2/5 1,9

0--¥

= SQ dan ,einaeaicd Be awort eatwredds edomotom rs
to brof vistonod sew oft Salaries hovtak’ <tiel
aid erew moasaou) bre meetey . Hee-oltabne tes ttooY
zo <e0% baoses eft to east at beth ef -2onanm testo
( sawsued-oxanBNQ@) .{@48L) miortey
hemtoeqe « er Sr sgit to fwod-set Siaaeck ase eat >
ed? to yslo é So Shae Gs i eXTOW e'inded-onlt to
,atait da beees Bae datwolley to <oLoo exewnedt t80
edt to esels expaqo exortest e ddiw bexeveo of bas:
ast boe btel vidagil et gittsets edt -tofoo emss
ber Loa nt at iotaws od? 198 ifoe70 oktt Crev
souitd verre doidw to fis ‘toata bae m0973 pot idw
ai bert ed? “sbtel vlivesd rodtst ts blog bas
exes meet bas ot idw edt td wovdent to Lieb. nedter
-sait al #2 ° \dweosfenstd tedwemoe ,en asortent -
eamam &3 esta Low of brat vrev tom dard bonie7e
ipincee mas Lb en todte it.df S\f tevo efttil s/)
~fooqe a er ‘BL att’ to teodcaet eban~ Leas ea? |
ot “bo atsey ‘qinewt trode tle yoro ee %o stent
? tofoo sientattane de byers.sto Yale a to eben ef
‘gibi ks daivers & it iw Herevoo ‘Rimtad ak bre
-ntenett Fos sod befslowrs extant gaoria +o ‘exalts
ze da tatosia ‘i efidw nt ‘al gritnisg of? tne
-tvsed. teiiwenoa ‘at et iatw ed? Holitw to aere diate
"eee Bein Bae Stadt bontetg-ebit gi dr .btef Ur
ads agel oftient )antiost as vant stigtow ak
of tire Seat eatin Reg: ae aM

V--21

The Bankoyaki was started by Banko, a pupil of Kenzan's.
Upon learning the trade in Kyoto, this man moved to Tokyo,
where he ran a factory near Komme, and used to make some
seramics of the style of a Chinese ware of the Manreki
period. When one Nakazawa Namizayemon invented sometime
in Amyei(1772-1780)} how to make the glaze as was used on
the Chinese Jikkinde, Banko managed to get the feeeat from
the inventor and after that his:waéres’came out in this new
glaze. These earlyeproducts which are marked vith Hb awk

(2) both reading "Ban-ko", are called Ke-Banko(old Banko).
In Tenmei(1781-1788), Banko moved to Kyoto, then to Kuwana,
Ise, in conformity with the desire of Matsudaira Sadanobu,
honorary lord of Yetchyu. _ One Yamada Weannoeu. who lives
in Daiichmaru Kuwana, is said to be one of his descendants,
but this man is not making any pottery. About one hundred
years after the time of Ko-Banko, one Mori Yesetsu, of Kuwana,
a dealer in old papers, found an illustrated book concerning
the manufacture of the Ko-Banko, which he thought was too

valuable to be thrown away. As he read it, he found himself

-experiments, he at last sueceeded in making something just like
the Banko. He put them on the market marked "Yusetsu", to-
gether with the Banko stamp. Like the Chinese “Shidéware, his
tea-pots were made by hand on a mould, having some designs, such
as birds on the waves, or Dragons in the storm, engraved Or 10
Thus his wares, which by the way are eae lighter than the Chi-

nese models of his, have designs on the inside, but the outside

I[S+~+V¥ ‘kb

“Sr

+2 ‘che S.teH to hg, & oanal ya bottets aew ile corned eiT |
,oytoT of bevom man efit tour st ebett exit gaintset sogU
emou eslam of been. hae , OMMMOH Lis Ot 209 082 2 Bat od erondw
ffetireN ody To otew eseaidd £ to eye odt 0 eoimetee
emit snos betwerst a th cabelate oti ewaaaiel. ene moat sholited
- £0 bees eew as easly acts oxen ot wort (oer s-a00r) eyes at
mort tetos8e exis a og begenan oxiasd Oba laxet esonid” edt
wer afdd mi tro ened eee and sad tat te ine toteevat ont
Jno ew bexiam exe otiw etouboraet tase ened eset

, (otinel ied belies sta ,"od-nxi" antbeet teed ©
Smewsrk ot medt .otoyh ot bevom, olged (1 (88NL- fev f)femmet n=
sdonabse® etiabsatell $0 exievek ody it kw qt iurrotn09 mt ,eal
aevil ondw dosldaor bang #0 uRgod oY to bsol Yts tonon
Siaebmeoesh aid to er10 ad og yes ai {saa raoniot Lat ot
Doxbavd enc tod. »ttetiog ate ga laem Tox ef geo edt tad
suawad to wat oeeY, EtoM #m0 ,ORrai-o% to emit sid tetts BIO
gninieonee ateod Aetattanllt me bose aveqeg Slo at releeb rs
oot exw Seigeroals ea dotdw otsal-o% sal to esufoetuean eat
‘Veamtt Battor ad. ,tt beet od. aA + Yasws awortd ad ot efdanlav
doris amos xotts bitte _gitistam- 729d ton ne hedueredat Ho ss YISv
exit tant gat? amos anivan wt bebesooae teel ta on \adiomtregxe
-ot "weteanY” Sextaei texts ods . 20 ments 0g ek - - oleae edt

Bag oxeyph de” ecemisd edt exts - gout oxime ‘ont? ad iw terdteg
dose , angiseb enlod anived bLsroat £ £0. nat we oben eTew etoq-aee |
ti go bevergee. tote aa si aqogest x0 seoven ont mo pbtid as
om £09 odd past tetdaif. stow. yar ont ud achacaal seers etd sudT
ebistro edt tnd -,ebtact- edt no ergioeds evad ,atd to efebom ezen

V--22

has only the finger-marks. He is said to be the first man
in Japan who ever made tea-pots with a mould. Fuyeki, pop-
ularly matdad Toned, his younger brother, even excelled his
brother in workmanship. His tea-pots have round handles,
while his brother's have usually rectangular ones. It was
about forty-five years ago that Yu-setsu succeeded in turning
out his first goods, but it was not until some ten years after
that he began to make some painted wares. Mori Yogozayemon,
one of his descendants, is still making some pottery at Obuke,
near Kuwana. )

Banko studied tea-ceremony under So-sa Genso, son of the
tea-master So-zen Hisata, and adopted son of Ryo-kyu. So-
Sa was also known by his other names, Kakkakusai Ryuken and
Ho-ryusai. He is said to have been the greatest tea-master
Vn ont
after So-tan, and it seems there are many tea-utenstls ,that
were specially made to his order and taste. He died in
Jiine of the fifteenth year of Kyo-ho(1730), fifty-three years
of age.

Later in his life, Matsudaira Yetchunokami, lord of Shi-
rakawa, O'shu, was made lord of Kuwana. He is also known
by the name of Shi-rakawa Raku-o. About Tenmei(1781-1788),
he found himself the actual ruler of the whole country, as
chief executive under the Tokugawa Shogunate. He was not
only a connoisseur, and art-enthusiast, but he wrote several
valuable books on art, of which Shu-ko-jisshu is one of the
most important. It was he that induced Banko to come to

his province, in order that the cexamisiart may enhance the

2 Ps ‘to eno ef ma

~qoq blew? I
nid beffeoxe neve tedtord Legmsoy end itontoy sid!
,eetbaad basot eve atoq-sed ein sq idenantrow at Spates
eew tl .BemKo xelvenedtoe Uttesas eved a ‘aedid ond ‘etd othdw -
an ald at bebesoove wetea-nY tedt oge ‘ere8y evit-yixot ‘Hooda
stevia ¢ 2YS8T sed oemoes “ Ledies ton eal, $i tod 2b008 terlt ata dso
.momeyesogoY itoM .e0taw mae anos esex. ot neged od teat
,eand0 ts yrettoq emog anbatem itive at "adap baeoeeb bia Yo eno
| : eee oe

ait To ey ~oaneD e8-o08 rebar qnomexred-s9% betbate es en
~o8 ° .yt-oyt to moa bedqobs Bae ,staein mos-o8 sabia”
bas sewsryt iseifexbleX Beemer tedto eid va sew oneal oats. eaw sa
xetedn-oet teetsets ont ased eved of biee at of : basen

PR ee Aa

dads, allanets-set yaam ete exvedt

mt potd eH votest bre tebto

areoy eerdd-yitit (OSVL od-oyd to

ite to Brol. JinexonsitodeY attebucdal vote aid ab seta re:

- seworts coals at ok © .ghtewn to broL ‘bem ane od sw
.(880E-20E) Lomas? Stodk - .0-tnlalt awesian- baie ‘to oni

as swataH09 6 foster ods Yo soli fautos ¢

ae
- ty

“tom egw ‘ot latina ‘anaginiot bap oes are
“texotoe adbxe ok tnd 3 :
| of eno" ‘ot oxtnat ‘own i
au «one onsite wen shlaci Fuss ee

Tanke
_ &8--V

The inésnee-, bo of ys @1 i8 enother Banko,
ge ty phat Bne Qiiteqeot feool
about one” hundred, « Y years old, made some-
momtoege « at @f .git to ees aeeiit obam-lootw ox?
time in Ho-reri{ 1751-1768), Lt is a copy of a
-Bwi fit enivence sham ,5Ilo Btsey ytenioa tyodes a to
. Uochin ware, ani is ealied Aumme gaat) 5B
ssentdd aft exif donm at tI (OOBIo G8eE bol rec fea
s It is made of a white clay, and is covered with
mee eft to ysfo « to shan at tI .ebaktekL beliso exsw
a rusty £lasing of green and yellow,except on the
ife ‘eer edt yitaebive .sbatte defunita eae: dtiw tofos s$temne
bottom and inside, where it ie white. , ,4% is very
mo meets | efeq euottent at eselg espeqo bettosto oft bas
ttle in quality and light in weight, measuring ;
tw entd eleq oft .obfent ed? mo etidw bre ‘ebtaty ont
: £4 monme!1/6 1b.) The stamp on the bottom reads
pe tApAt ant? eueet ebte sdt no sentiteo Iaott rire’ sdt
{ anko"™,
pet? .exeweatswA blo os to tant exit domm axtoot exalts
| The wheel-made water-pet of Fie. £2 is a speca- .
~M9OTs 6 m1ee foas.Pes ~bet .aniq ,bfoa mt ef
nen Pv Yoaetau: ‘S works It ts A le wath trek
f yxev ets stofoo xta. totter eit dotdw to ,aword bae wo
ime" (hammer marks? on the outside, with some” finger-
Bn ot to sebta dtod no emoesold-mnlq of? - .bekfaqd YIt
| marks on the inside, while ite bottom has warks of
Thoin edt co ULtxettad edd Ene antv bexifenottievmoo ‘eat.
some coarse cloth, Lt in made cf a greyish clay,
nadt Tewen foot Neat ea Cabin tuq sood ovead of mese
ie rankiucent, and ie finished in u glase. of
¢ ofl? ao bawot ae "ovnad"antbee quetea A ,etreq terdto

rlugoge color, lustrous and translucent. aa is
| «git To Iwod( baritwom-0b te Yidomiet at eben-feody 8
hard of medium weight, weighing 70 omme (77 12 Thy}.

to wit | borax eno tyode owe t=%o nemtosgs tefions af
; i TAD near the vo tt om (8) reads " Ramiro" ‘

qldedord esw tI .(88TL-L8VL)E of mit emitemos best

to Ette® ehoyantl Belfeo-ox edd to efyita edt tette ebem

Bmes2 Tepckokbdehdennd Weowdta idwoudetdet fied Dhirdegsar of".

f aa “oles! efida oat tounngaweg oftl ee .qelSherewoyauced dbr it

jorisaes FSM AL WAS cexedukive -££95" ,énpsde TedseboRboesLo The

_roceted aig iaéheonDt iswiteteterabat quer og yar ingneliy ona.

ne jbo \yhdatsiyeomneca imate _ ekrtdigs g ety Lab ohevenge tan-
lambfe he Shyen: sXe hacearsuiegiee) grtadteny teases oo

ku were Deine mode of Poms iad LeaattRNOd LaVomitesogetddelane os

mura. The goods wave sent to Tokyo, cn aonsivnnent bo one

os 7 % I eye, ie i: emer hs af 7 Ta oP a

V--23

local prosperity and weal tds the, Cndunaty.
The wheel-made flower-vase of Fig. 19 is a specimen
of Banko, about ninety years old, made sometime in Kwa-

sei period(1789-1800). It is much like the Chinese

ware called Jikkinde. LG ais Wis of a clay of the earth
enware color with a pinkish shade, evidently the Ise clay;
and the crackled opaque glaze is lustrous pale green on
the outside and white on the inside. The pale blue withi
the ellitical outlines on the side has fine crackles. Thi
glaze looks much like that of an old Awataeware. The pai
ing is in gold, pink, red, crimson, ereen, pale green, ye
fow and brown, of which the latter six colors are very hea
ily applied. The plum-blossoms on both sides of the nee
the conventionalized vine and the butterfly on the middle
seem to have been put onilater, as they look newer than t
other parts. A stamp reading"Banko" is found on the bott
The wheel-made' katakuchi'l side-mouthed)-bowl of Fig. 209
is another specimen of Banko, about one hundred years old,
made sometime in Tennmei(1781-1788). It was probably
made after the style of the so-called Ningyode Seiji of
China. The light brown clay of which it is made, seems
to be an Owari clay. The glazing of the same color as th
Clay is rather opaque, dull of lustre and is not crackled,
though it is very thinly applied. The designs were en-~
eraved on with a spatula. It is fine-grained, hard, and
heavy, weighing 31 momme(about 1/4 1b.) A stamp

reading "Banko" is marked on the bottom.

V--24

The incense-box of Fig. 21 is another Banko,
about one hundred and twenty years cold, made some-
time in Ho-reki(1751-1763). It is a copy of a
Cochin ware, and is called Azuma(east) Banko.

It is made of a white clay, and is covered with

a rusty glazing of green and yellow, except on the
bottom and. inside, where it is white. It is very
brittle in quality and light in weight, measuring |
24 momme(1/5 1b.) The stamp on the bottom @) aes
"Banko". |

The wheel-made water-pot of Fig. 22 is a speci-
men of Yusetsu's works. It is decorated with "Ish-
ime"(hammer marks) as the outside, with some finger-
marks on the inside, while its bottom has marks of
some coarse cloth. It is made of a greyish clay,
Slightly translucent, and is finished in a glaze of
the glucose color, lustrous and translucent. It is

hard and of medium weight, weighing 70 momme(7/12 1b.)

The stamp near the votton GB) reads "Banko".

The Yokkaichiyaki was first made in the third year of
Ko-kwa(1846) at Akuragawa, of Ise.: The clay used for it
came from a piece of Sigelfield in the neighborhood. ° The
early products were limited to the line of ‘yukihira’ a chaf-

ing dish), like those made in Awata. But later, some tea-

bowls of the shape of the ‘chufuku bowls made by Seto Kaisa-
ku were being made from a clay found at Okayama, of Hanezu-

mura. The goods were sent to Tokyo, on consignment to one

® ; P

Q ;

‘
7 3
| =
:

ei
; « = eg *

1
t

* A ved
a
y
t t nd
a*
~
-~
~j : Atay
é
ae

Ww 1

is —_ ened
= deny
f. on
:
whed
ba |
ae hans
re)
bere a)

~ =4
os rh
ae »
hoa
ae ~:
ou,
\ — Sc
ie te
s , 25 gs
t
£ me
&
©
y 2
a ay
Me;

Tacee

Takahara Tobei, of Honjo Hitotsume, an insignificant retain-
er of the Tokugawas. But since the early Meiji period, the
industry has not been very prosperous, and so now they are
making only ineracan of Banko tea-pots.

Yokkaichi is in Asaake district of Ise.

A villager of Nagashima, of Kuwana district, found
out without much difficulty that the Yusetsu's Banko
pots were made with a mould, as the marks of the mould
left inside the ware, readily showed it; only he did
not know just how the mould was made. But it did not
take him very long before he induced one of the chief
workmen of Yusetsu's to tell him who was making the
moulds for Yusetsu. He got hold of the mould-maker,
and had the proper moulds made for himself. Onee in
possession of the long envied implement, he set out to
make the Banko ware in his own village. The Yokkaichi
artisans received their training in this latter factory
before they started their own in Yokkaichi.

The cigarette-box of Fig. 23, gate by hand with the
help of a mould, is a work of Doi Kasuke, of Yokkaichi.
It was made in April of the fourth year of Meiji(1871).
The whole thing is in the shape of a full grown pistil
and a flower of lotus with some leaves for its stand.
It is made of a brown clay. The stems and leaves are
glazed in green, but the flower is in white and pink.

All the glazes-are opaque, lustrous, but not very hand-.

some. The quality is hard and heavy, weighing 130

: i
et je eta oe
-nistex ¢uaoltingtam® fs ,emueto?kt obaoll te ,ledo? exededat
‘edt bolteq thiem lites edt eonte apc gE Oe edt to te

eis Yedd won oa bie Bro teqao1g yiev mocd ton asd qitenbat
2 _.atog-set oxnat %o aoltatiot gino. ga tstem
went “to folidetS elesek ni ek io Leaslo¥ |
basot ,tofiteato BrsWud to .sitidee ge to segsiftv A
ose atroteanY eat tect wi Pvolttis fesse tuoddiw ty0
blsom edt to ‘emtets efit ag ,bivom e diiw ebisn etew atog
Bib ed qLn0 iti beworla Ylibeet ,etew edt eblent tial
tom bib ti tua. ..,ebem vaw bilyom edt wort tent wort ton
tetdo edt To eno beoubat ed exoted gaol yrev mii oxst 2
eft gnistem aaw odw mid {fet o¢ a'yeteast to .memtrow
,texam-b Lous edt to Brod tog eH .veveasY tot ab Liroat
at gon0 .tleemtd xot shea af fyort tecotq odt bed hae
ot tro tea od ,ttesies lamas beitvas 9$n00 edd To woteesaaog
tifotaxaxoY sAT + waatite nwo eid oi stew owned dt eagst
yrotost zettel etdt at gointeart tledt hevieost ansaitrs
_ sbdobedioY at awo sisdt Betaate yodd exoted
ot dtiw baed yd ebem ,oS8 .oiT to iis estaceate oat
,tdotaetaeyY To ,exvesd fod to atow a et ,biwom g to qied
»(LVBL) Lite, to 188% td-uar0% ent to Litgaé at ebsm. ew #1
f[iteiq mworg Lint 2 to egeda edt, ofa gntdt. stodw edt
baste, ett sot eeveel omoe atiw. astor to tewolt s one.
eis eaves. bas enor ed... +welo gwotd «to. ebem at #1,
gow take: nae odidw at ak, xewort, odd tad OST ni. beset:
= Batecl grey dom fod. eworsenth | eupsqo ers aanalg: edt ffA |
OBL t gant weenie Bae Best at: ‘ei Lesp sain A - s9mo8 oe

is. 6 tox Pe ‘ ¢ ais ie am ms en Mes rhe
ei ee a ar ee ae "i Oat eed! ft a Me
4 : mate ca GT al : ; " .

| teat aa--¥

:
fr

Dine Min tenom shea yene ohaee os. alts SN ERPS hoe
are +4 erstarkay he bgt $e vefodw e eA -eetivo ent i
Rachiroyers on 0 won, not Alina EHO TRAL EAE FA POA 0 trade,

but it seems hay were not very snsoweatud and had to pive

Beeist to ‘woxieeaad staan Aho "EE BERiad Role MCDA
| prof ee Ape. eta ‘ond . io Baa Fo Fo lvseiD” ‘gating "Pa
| qiev "fox “Stew axtxow aid sud ,fboteted to sredideoT sbexall |
|_om sew TReatttaot ape oe De egat tte htcot * Naito ate Hae
jesoone so Gitdubal eas aot OF xadeat Ska SatP ahbagie B26
ad ats outa oF “oath iBebpten os ostfta 52 OFo 58 one hbe 88”
a ighors aah * tadeubak sats pat boi fae Beaty Matt esate
om bas ‘ecellay: erry oko xtomes aisttad Sh oht “*2288ons
Seb Gir SREa Ee ORS Shen ESRF LBe
een bi “wostemoe ’, (tneto® Sf0)tastss-o8 ext? belles Won ets
fo t0 ons FEFGS* yon" aun’ #¥ baa cotta °S0hts Boil #dobess

; beawne ray *cutenbice ett. ‘sEHe PB te? eutane to 85% ahoyee
Laesoat eats at He oaneBe ds sagas Ye # ,momoyone® ebideoY yd

ft 197 aew ioe cane Otome: a ‘bu 46 ebaait Bae of ki® re re
Rivaaibet g MR siya edt ah. 6 once GE beSBR85S0" 084Sy" tuo Bat
cant etah tive wa TiSoPEE8 ib Sbas he cay Hees Ban
reriw ) votealia® oF Reve Te) Yabeout at Cr re. rs Rye iehe

q ont ao *fontedte gaw thenevornit 4o. Bie $eSie RRL ba |
Ie eaew else teseh | ae Yo" 93 ce sae we oft? 2° RiGtse xe i
lett gos oily Howeiyonbis of AE ANSE LAA |

soyriset tS okie FES it Yaa "aaa! enact a! oa on,

| ee ore i wals te ber oe ipa iden et?

We

favoisbo xq Oth a oat

"

usigetT to @
er hie Ait et ih sh Wifeen Beene bi be about oe

nanived WURE . ane i oe “ie 3

mts in
eee tee

al ai _ ie ane Ue oltit Poet , oe ae ance’ f ile

V-~26

momme(1.1/2 lbs.) The seeds are made movable in
the ovules. As a whole, it is odd of shape, but

not of very tasteful make-up.

Kuteniyaki was started by one Tamura Gonzayemon of Kuta-—
ni, Enuma district of Kaga, under the patronage of his lord
Mayeda.Toshiharu of Daishoji, but his works were not very
satisfactory. Toshiaki Mayeda, son of Toshiharu, was no
less anxious than his father to make the industry a success.
He sent one Goto Saijiro to Karatsu, Higo, to study the art,
and it was by this Saijiro that the industry was brought to
success. The materials came from a near-by valley, and the
paintings were done by Kano Morikage. The early products
are now called the Ko-Zutani(old Zutani). Somehow it was
discontinued after a while, and it was not until June of the
seventh year of Bunkwa(1810) that the industry was resumed
by Yoshida Sennyomon, a merchant of Perens ii. The factory

was put into the hands of one Miyamoto Uyemon, and was turn-

ing out wares decorated in blue in the style of a Cochinware.
The output of this new factory was called Yoshidaya-gama.
Four years later, the factory was moved to Yamashiro, where
not only a great deal of iprereneit was attained on the pret
arations of the wares but the style of the decorating was en-
tirely changed by the artist Iida Hachiroyemon, who cot his
idea from a eines book he found in Kibi temple cf Tsuruga.

The use of the red glaze characteristic to the Kukani ware

V--27

was; introduced at this time. The products of this period
are called Hachiro-gama.

Hachiroyemon was not without some successors to his trade,
but it seems they were not very successful and had to give
‘up the factory again. At shelene one Tsukadani Asashi,
wno claims to be the fifth successor of Kutani, is running
a factory.

The exact date of the origin of Kutaniyaki is not
known, but Toshiharu, the dignitary promoter was made
lord of Daishojo in June of the sixteenth year of Kwan-
yei(1629), and died in the third year of Manji(1659).
His son Toshiaki died in the fifth year of Genroku
(1692). And we can get some approximate dates from
these facts.

Morikage Kusumi, vopularly called Hanbei, was a
pupil of Tannyu, and husband of Sesshin. He some-
times called himself Mugesai.

The wheel-made bowl of Fig. 24 is made of a grey-
ish clay and finished in a dull opaque glaze of the
Same color. The green used for the design is of a
very beautiful shade. The violet and yellow are of
a dark tone, strong lustre, but little translucency.
The entire outside is green, except on the bottom,
A color is,of the constituent clay, and the
character "fuku" is written in green. pene Saunend
and fine-grained, and weighs 170 momme, rather heavy
for the size. This specimen seems to be about one

hundred and fifty years old.

Tanks T3-0V- |

sotto wtitt 29 /dsdeforg of®® 8SAREt Seaeoke Hesesderd? ow
the ovules. Ad @ whole, it lgngidloeiasuarser tes ots
obaxt ob of eX SNeSBRE SiGe HBOAIRN ton eaw romeyoridosl |

- g7iz oF bet boa [uteessonue yrev ton st6ew yond anteoa ti tad

Maga tunbeteet one .tueeprt ats. stane weotgat odd gu
SOE G cue Aiea Tete ot od Rabe nal q33*%, ge teostgetee het Lora
Eayete,' Toshiharu of Paishoji; bwt..nis works ware. cote ver ry

Be aed el i et eh
ees SAY FRS CRAG HER Peer ho wlke te tuvastiy © euccens. |

Mee 584 eee Stgpedute, est, to, exph at Rtegeted to. bao bie art,
2904 WERON,*A,FRe PERS. Riki tne deonetes wee vrokent

se

we i170 lé txous wee bro be
sunbagen* the ates cite ot sf b929 Py toa vEPS§ ona the

ek Ptt Rete hee2 aire ae 258 G2 rare. snl eA eats 005), ote

a fr etoet esedt
ure how ealled the Ko-Futani(oid Kutani }. Rene how it was

apa liga td on a PEs te ane ee Friar fe eR Fy vane of thet
oaventh + Shy oP aeiera at et tet 9 eying? 20. re reaumed
by agg: Senayonsn, aA eT ky orears Sei tee po Pastas
wae oO ret 4 it "ORT finds iP Sab ‘cred, foe ey was tarn~|
ini oY, 20, e882, oupegn, ft20 Bile Peenete phe MTS Eidsaamare,
i anne ee Ee eet Pa ets iy wae wee nt eae a eya-pama,
pair ere igor, bas, tetol igi ae wee ober EAP eed wae where
ag Paneer? eat it ys, ,ent8 ap Wis shh Ab on the “prey
vane ods "Bs a2 Pore, fie hi: Wir oes. tome, ext ves en
‘ 5 id DAR Me ad Oe res Han hi aes pot he
‘teu Prox i Guanes, yeak Ae en ina is KEol tempt
om Py; fe ee ae Ray er A yg ee 9 pay ware
eno tsroda ad ad gmees Heme SOG efit. ers adit tot
_ »bLo amet. wat fig prea

V--28

Aganoyaki was started by Agano Kizo, formerly sonkai
of Fusan, who had,accompanied by his sons, come over to
Japan, on the occasion of Hideyoshi's Korean expedition,
with Kobayakawa Takakage, lord of Buzen, and started a
pottery factory at Agano, of Tagami district, Buzan.

The earliest works were made from the materials brought
over from his own country. Something like Rakuyaki,
these early works “os simples and classic looking, glaz-
ed in black. But they were not very fine-grained in
quality and rather heavy in make-up. Later works are
made of a brown clay and finished in a dull violet-black
glaze, heavily laid, having a porose appearance, like
that of a lemon peel. Some of them have the mushikui,
flaws intentionally made as if they were eaten by some
insects. In quality they are rough, porose, soft, and
light. some have irregular brush marks around their
foot that make them look all the more primeval and class-
Bion Works of-still later periods are made of a clay of
lighter violet, and coated with a dull opaque glaze of
greyish yehlow, very thinly laid, much like a Takatori
ware. some are made of a very finely sifted clay, hard
in quality, and of the color of the Higo olan iene
in a lustrous translucent glaze of. glucose color. They
are very light in their make-up, and look much more ele-
gant than the Takatori ware, and have less of the Japan-

ese taste. They are very hard, and sound like a metal.

iastnoe <iseues onl oni ne betcute eam Havouash”
ot TSvO SND yBitoR als xe bs insqmoooe ybest ontw east ‘to
Molt iheqxe ‘see r0 a! Edeoyobtt to molaeo00 oat no rg c
a betiete bas ,xessf to p1of esesleste? uaa yedoX atiw
GAR 8 tobias image? + +, Othe A ts yrotoet ‘Wredsegss > 4
tiguord afeizvedtent edt mort obat stew ealtow teoifres ost 7
tteywitet ‘Suit gntdteno®. Hace Liwo “Fn mort 18v0
~Sels ranttoo.Ll ofaaete bas ge fante exes evxow Uitee seedt
a benierg-ontt qrev son exe yedt toc Moard nk be

ste axror tetrad | «qi extent nt qveod xeite bite qtifenp ‘

a
tag

a°
= -

woe (detofoty [inh « mt betgrert bis alo aword (= Yo hey le
exit. ,.eotstssqes eadt0q & ‘patvad -btel qii¥esd .oselg
vbr Este gmat” ‘ont evact actostt to moe fee rome! eB: ‘to Dad
emog ww nave Stow wont +t on obs yi lenottnetat ewalt te <a
bas tt02 eaotog iguot ow “qeatt YF tleup at sateen! hn ;
Re cubed? bawors eaten ceuid ‘wefirgertt ‘evel ‘eMo2 | tg” el
-8B5 ro one fevemtta erom adt fle fool most oxtent dealt took r
to yals «x to ehent ets shorted meter [Lite te axttow ok a

to esafz eure Tivh « atiw betsoo bas stefoty soouate ve
mS sy

itotadet a oxht fomm (ff ms. qari yrew woltay Sorcery
‘Brod tsto Bestia qleait exer e to eben one eno ea
bodatatt, ‘rato ogilt ent ‘to s0Los ea me. Bets ei han ot si

a

7 :. ¥, i!
yedt +30.L00 seooul to esata yo ritee ioneen Ae

Piede if hes

-~sfe exo diosier toot sas ta oat whet it ae
pat tes = Roe er

-naiat ita ro. ayer ovat 55S” oie

Vn--29

Then again, some specimens are made of a whitish clay, hard,
and fine-grained, and finished in a white glaze.

In the seventh year of Keicho(1602)}, Kizo moved to Higo
with his two sons by the inducement of Kato Kiyomasa, leav-
ing behind at Agano the other son of his, who continued the
business there incessantly. Kizo and his two sons built
a factory at Takatamura, Yashiro district in the province
of Higo.

Most of the modern Agano wareg have the lemon peel effect
and so they are called "Yuhadayaki"(lemon-skin ware). They
have much of the appearance of the ancient Agano, but some-
how they look cheap. Like the ancient products, they even
have those irregular brush marks around the foot. Next to
the lemon-skin ware, the "mokumeyaki"(wood-grained ware) are
most in evidence. They have wood-grain marks in violet on
a yellow ground. Then comes the white ware called "Shiro-
de", finished in a lustrous translucent glaze of pure white,
thinly laid. They are fine-grained and sound high by the
sound test. several other kinds are being made now, but
the yellow"Nankin" is the most important of them.

Takakage, son of Mo-ri Motonari, and adopted by

the family of Kobayakawa, was commonly called Mate

gshiro. He was noted for his righteous and congen-

ial character, as well as for his high standing in |

the literary and military studies. Many an anec-

dote is told of his exphoits and accomplishments.

He accompanied Hideyoshi on his Korean expedition,

eh--V oie

Gira
.btad ,vysto deitidw. « to sies stz anemioeqa amon ,tiexns noAT

-esafa otidw @ mt bedetatt bas ,benters-enlt hae
ogi of bevom ox fi ,(80aLlodote® to ‘teey dinevee eAt al
-~veol ,agatoyly. ote to FAH MGO vbhnt edt zd enoe ow? ein Atiw
eft besnitmoo odw ,aid to moa teddo oft. omagA te Batded ant
tf isd axon owe eid fine oafd. -Ultnseesont ered? esentand
eonivorg edd ai tointelbh orfdasY ,stvmetsieT te vrotost g
| ogiil to
tostts Ieeq nomel eit avsd gotsw onegaA arebont eid to taolt
vedt .(etew nixa-nomel)"fteyebedsY" belie ete yerdt oe bose
-emok txd ,omes\ dnetone off to someteeqde edt to comm vad -
reve yedd. ,atomborg tosfone eit exil ~qgedo Yool-yert word
ot +xel toot edit Savotae eitesr dewrd. talugettt seodt evad
ete (stew peaterg-boow)" tistyemnstom" edt ,exew mide-nomef edt
no tefoty oft -edvem mletsg-hoow even yedT - .sonebive ak teom
—soride” beliso etew otidw oft aenioo nod. a teint ote wofley s
,etidw ets to esals trees tenet asortesl ¢ ot bedatait "eb
edt vd gid bavoe ire benis73-satt. es yoodtT - «biel yintidd
tod .won. ebem antted ‘ets ebaix redto L[etevee fnat bastoa
smodt To teed oqut Fecm ake at. “nisasi"wolloy edd
yd betqobs baa ,itenotoM tt-ol to moe enedieiat
aval felleo qiaommoo ecw avers yed ox te ict ties: att
-nsanoo bas ahha ert eta social betor nant or. .orideg
mt antbaate dgtd aid x0% as Ifew Be Tedoatarto fat
-oens s8 Youll Leetbute viatifba bas qrerodil eat
nfaomdettquooca bis atiofaxe utd to blot et stob
moitibeqxe neotok ald fr0 idaoyebih betmaqmooos eH

V--30

during the course of which, he distinguished himself
on several occasions. The undisputed power of the
Mo-ri family over the ten provinces that it reigned
was due to a great extent to his skiliful and well-
guided administration. He died in June of the sec-
ond year of Kei cho(1597) at the age of sixty-two.
His remains were buried in a temple of Hagi, which
is now called Takakage temple.

Kato Kiyomasa, called Toranosuke when a boy, was
born in the fourth year of Yeiroku(1561), at Naka-
mura, Aichi district of Owari. He was a son of
Kiyotada, a retainer of Saito Dozo, who died dur-
ing the war with Oda Nobunaga. Upon his father's
death, Ziyomasa a three-year old infant, was taken
to the family of Hideyoshi, a cousin of his mother's.
It was gad, agente help of this great general that
this promising youngster was able to bring his fami-
ly name again to its old-time fame. Later in his
life,he was made lord of Higo. He died in June
of the sixteenth year of Keicho(1611), at the age
of fifty-one. He was almost an ideal soldier,
good and brave, and a very popular general too,
well-read and ever resourceful. His bravery and
exphoits during the Korean expedition were sung
even among the Chinese poets. His ability in the
GEV administration was rather overshadowed by his

military fame. But his virtues as a sovereign

P
Pear * naa

ay

tisamid bedatwgnitote nd foidw to eatwoo edt -gaiuh
eit to tewoq betuoathas sat abo tes900: fatievoa fo”
bengiet si tend saontvorg pay edt) 190 vidina’ £t-om:
-~{few baa Int{flinze eid ot tretxe JESTR OR ot enh esw
-oe2 eit to sagb af beib oH «-Moltettaininbs bebtus
. Owkev dais to ose ott te (Yearjodo Led tovrssy dao
doidw.,igel to efqsaet « at belivd exew antemet eit)
.ofamet egeieisT befigo won at
eaw yyod s osdw exveonaroT beligs (eeemoyla otek
-sial te -,([86L)wtotteY.to sey ditto? edt at atod
to moe 2 Saw oH act to otofrterh EdoLA? pethar
“wih Beth odw ,eteot of fat to tenteter # sabatoytt
a’ tedtet afd noqU > .sgeueded #bO aitie tew odd got -)
cextat ‘ouw-.~dnarnt blo tesx-oordt 8 eeacoyle teed
<2 radtont aii to ntewoo @ ,ifeoyebin to titmet edd ot
dest lartsne3 taerg efit to q font Fei fs, BBW oe
~imet aid gubid ot.elda ea ‘etionnc’ gubalmoxy att
sid ni retad somet emitd-bLo eti ot shage oman YL
enst at beth oh iostH to biol ebem enw odors
e3e edt te bEdek lost ta: “te8y dtnestxte edt to
Maihing fsebi ne deomls eew oH .ecoog ght to
, 007 Istenes reluqog Yrs¥ s bite evetd bua Soug
bas Ctevetd afl: .isteouwoget teve Bice beex-LLew
gia oe Tew notd khemxe Mestod eff gaturh annie
ond ai qtifide eth. .ateoq eacatd? odd geroms neve
aig wa bewobadarsvo. redtet ean aotterteintabe ‘Livie
-gietevoa es ‘ee ‘eontniv ont ot omet ‘einai

V--31

lord are very well remembered and highly praised even
now by the Higo people.

The wheel-made tea-bowl of Fig. 25 is a specimen
of the Agano ware, about two hundred and fifty years
fo ws bd TY i made of a brown clay and is coated with
a lustrous opaque f#laze of dark brown. The heavy coat-
ing is not very smooth, but has the lemon-skin effect
with some "worm bites",: Around the foot, there are
those irregular pirate, t It is coarse, porose,
and soft in quality, but as a whole, it is a classic
looking handsome piece. It weighs 57 momme(about 1/2

1b. ), rather light for the size.

\

Hizenyaki, started by Goroshichi, is something between a
stoneware and an earthenware. Its\ white glaze is not very
beautiful, but the blue is somewhat handsomer. Vany spec-
imens look like an earthenware. Gorohachi, younger brother
of Goroshichi, used to make very similar goods, but his works
were mostly large tea-bowls, which became so popular thet any

Quen
large tea-bowl made,by other makers came to be called by the
name of Gorohachi tea-bowls. Both of them were pupils of
Shonzui, and so their earliest works are painted in blue on
a white ground, like the latter's works.
Shongui, Kondo Gorodayu by the common name, was a
Shipping agent at O-kuchi, Matsuzaka, Ise. He edt
over to China in the Ming dynasty, where he studied

the ceramic art and made some sometsukeware(ware

H

L8--T

weve heetarg ae hore ee rs Ifew viet ote Brot
-efqoog ogtt ont ee wor

gemtoeqe sg af 48 .2rF td Lwod-eet sheu-Lleedw edt”
ereey Yitit bre bexrbood owt trode Stew onsad “sdd to
dtiw betsoo @f bas yelo mword 2 to shen ef #1 .bLo
teen -eeuet ex? .oword aieh to esel% esosco eanottasl s
sostts’ distantome edt ged ted -atoose ytev ton at gat
ete etent ,soot sat Sartre” ."godid mrow" emoa diiw
| 9ao'rag ,eere09 af tT Arar eee télugetrt “szodt
otdaslo a er tt ,eofodw s ee tid .yfilfeso xt ttoe bre
S\£ trode )enmonm T2 adgtew tI -~ .eoetq snoetndd gator
-esia edt tot sasgil rather Bs ae fh

& ceewted gnintt emoa at ,fdetdeoro? yd betrete ,ideynes th

qiev ton eat eselg etinw gett - .otewnedd tue ae bie etewenota

<osqe yos! ,temoabasd tedwemos et esd ett dud ,Intiinesd
redtotd tegayoy ,tdssdotod .etewneddtge ms eff f kool anomt
axtow eid tud ,86003 tslinte yrev extem ot bean ,idoideoto® to

ene tett tefsqoqg oa paca Aoldw ec rams egisl yitaom, erTew

ent ed belies ‘ad of S118. acexain ‘telto ‘Yad, oben Iwod-20t egtel :

to etiquq stew medt to dtof _.afw0d-a9% tdosdos0d to ented
no eid of betnisg ore arom taot fuse tied? o@ bas ehosmode -
| ai a ‘tot tat od? eH kL ,Ssaorg ov Lstw a

6 aay , omen soninoo edt ee sryeboroD obmox . teenod?

Ps

teow. of seat eased tifowat-0 ts troge ‘gatqgide 3

spr

pelbute ae igo _sWaenee a out mt anche. os

Vn=-32

painted in blue on the white ground). These works
of his executed during his stay in China have an in-
scription reading"Made by Gorodayu Go Shonzui".
After his return in the tenth year of Yeisho(1513),
he went to Hizen, Ise, and Owari, and had his works
which he prepared with the materials he brought over
with him, baked in the local factories. Later works
are made of the native materials. None of his de-
scendants became a céramist,but they all took to
farming. Some of them are said to be still living.
The wheel-made tea-bowl of Fig. 26 is a work of
Coroshichi. It is made of a white clay of greyish
and pinkish tints. Its crackled glazing is opaque
muddy white with dark spots, and not very heavily
laid. The painting is in a dark blue glaze of lus-
trous nature, evidently a Chinese material. The
quality is hard and medium-grained, and heavy, weigh-

ing 115 momme(about 1 1/2 lbs.)

The so-called Shinoyaki seem to have been first made at
a Seto factory to the order and taste of Shino Saburoyemon
Munenobu. Some specimens deted Taiyei(1521-1527) are made
of a very hard clay and coated with a dull white glaze.
They are not much different from those that are known to
have been made in the days of Munenobu. The output of

the following period is fairly hard, but not very strong

88en¥ poet

aitow eased? - .(basorg etidw ext mo enld ot betateq
batt oe svat soidd af yete eid gaiaeb bedwoaxs eid to
»"Igpsoods of syeborod yd ebel"gntbeet moitqttoe
.(8LaLjodatsyY to neat dtped eds of, atetes atid rottA
awtow eit bad bos. ivewO Soe eet (93 ER. of toow ed
gevo tdguord od eleatretem edt dtiw boreqerg ed doidw
extow teteal ..astrotost Sanne edd of betad, .mid diiw
ob. ald to. enol alatreten eviten edd to ebem exe
ot doot [ls -veds jekealiens @: emaced,eiaabaene
.gnivil Iftta ed of hise exe medt to emo@: .gntorret
to Xrow 2 et a8 «gil To fwod-set obam-Leede sdT
detyers to yelo etidw « to ebem ei tI .idotdaoro®
espsqo ai gutselg belxoero att setaiy Seiteta tne
Ultveed virev ton bas ,atoae Areb Atiw etidw hbo
~sot ‘to exels ‘eid atab # al ef antinies AT bial
eat * fetretec saeatdd s qitnehive etiten anord
-taten .trasd bre -,benters-masihom, base Hied af rai

{sedt S\L £ tyods)emmom SLL ant

te shen taxtt need. aved od mee idle yomia® baeheiain ot
nomeyormda® onic /t0 etext bas <abx0 edt a yrotost otec «
bam ots (NSBL-(Sa0)Leyte? boteh enemioega emo8 .sdonensil-
.eosefa etidw [ish a dtbw boteoo, bins yeio bred yiev s to.
ot mworsk ets tedt caont mort taecott rd. fom aan exe YodT
to tuqtvo eat sab Sonmast ne: aval odd wt. ghass aeed evant
acorta 2 oawod Fon ond bead Xinbey ar hotteg cauunatl we

- ee i . sae fat q 4
ao SAF on Nu ee oe xb é 5 Hes Lat bady ak my liegt os
; Pig Se eee Satin ie bees ha eS a

V--33

owing to the insufficient heat in which it was baked.
Their glazing is more lustrous than the earlier goods.
Works of still later periods are much softer.

Shino, otherwise known as Sho-in-ken or Kwako-
sha, a retainer of Ahikaga Yoshimasa, is the
founder of the Shino school incense-etiquette. ©
He wrote a book on the subject.

Shinoyaki seems to have been made at Akatsumura,
seto, as there are still being made there wares ofa
very similar type.

The wheel-made katakuchi(side-mouthed)-bowl of
Fig. 27 is a specimen of the so-called‘ mugiwarade”
(straw ware) of Shino, about two hundred and eighty
or ninety years old. It is made: of a white clay
with a greyish and pinkish tint, snd coated with a
lustrous opaque glaze of about the same color as
the clay. The coating is applied rather uneven-
ly and has crackles of varying sizes. The design
is in blue, brown, and yellow, of which the yellow

4

is much like the yellow glaze of an Izumo ware.
it is hard, medium-grained, and heavy, weighing
80 momme(2/3 1b.) It is a very classie looking

piece.

The founder of Hagiyaki was Saka Komazaemon, formerly

Kikei of Korea, who with his wife accompanied Mo-ri Teru-

8E--¥ Sinai

~bheasd, asw +t pioketw mk teed ¢retoittient, esft. of gatwo
.ahoon teiltes edd sedt avottemt rom of gnissls thedT
+ wtettoe don ots ahbired covet, LEtte to sahenw
-oxlgwi 20, med-ni-of@ ae sods es iwiedto.,ombde
edt at ,seenuideey a3etish to seomtater #.,ade
-,etiespite-~seneont, [oodoea oain® edt to tehasot
3 toetdue edd mo dood s etotw oH
wince tanh tse sham need eva od ameoe thevoniaa
ato eexvaw etedd ebem gated [itte ove otensd.ge ,oce8 .
| -eoqyd atelinte yier
$0. Iwod-(bedduon-eb te) tosdatedt ehen-LeedwodTt ~
“ebetswignm belleo-o8 exit hin maskonue B-Rk Wo BEE,
yidaie bre berbasd ow teodsa) ,omida@ to (etew wertta)- ~
‘qgelo etidw se to iebem at tI. ..bLo exssy yteoats to
a dtiw. betsoo bas tad detisigq.fine detyer3 s.dtiv
BB xofop ema oi? tuods to esels, eupeqo avoutert
evens rocttet hbetiqqa.el gxitgoo edT 4s tefo- edt
nafaeh eAT .2este gnityisv To aolxosxe aad bow yl
woltsy edd dotdw to ,wolfey pire ,cewotd ~eutd af ef
,otaw ontral he %6 esefg wolfer eft edit dosnt at
gnidgtew .yveed bag benter3-meibem bted et $1
gititool oteesto qxet w at Mane OF §\s)enmom 08

paar,

“elxeurot ,comessemot eis? ean isleyhaeH to tefavot edt

~sreT ito} belnaquooos stiw- aid. déiw odw ,sexoX to. texik

V--34

moto on the occasion of Hideyoshi'd expedition. Komazae-
mon is his naturalization name. First he lived in Aki pro-
vinee, but later he moved to Matsumoto, near Hagi, of Cho-
shu. He made several trials of different clays and Kaolins,
and once when he,found the right materials, he was very busy
in the industry.

Saka Michisuke, one of his descendants, is now living at
Nakanokura, of Matsumoto, and is manufacturing the Nakanoku-
rayaki. He uses a mixture of two clays, one of which he gets
from Daido-mura, Kogori, of Suwo, and the other from To-jin-
yama, of Matsumoto. This mixture clay has a yellowish red
eolor. The clay for the white ware\ comes from Ukino, San-
ami district of Suwo, whille that for painting the designs
comes from Obata, near Hagi, Choshu. It is said some Chi-
nese materials are also being used recently.

The glaze of the Matsumotoyaki is very hard, while
that of the Fukagawayaki, which branched out of the
former, is soft.

Fukagawamura is in 0-tsu district of Cho-shu.

Mo-ri Terumoto, grandson of Motonari, was born
im the second year of Ke-ji(1556), ana succeeded
his grandfather in reigning the ten provinces of
Aki, Suwo, Nagato, Bitehu, Bingo, Hoki, Inaba,

Izumo, Iwami, and Oki of the family tenure, as

his father had died before his crandfather.

He made himself a very good ruler. Upon his

becoming a vassal lord of Hideyoshi's, he was honor-

Be-¥ ean

~9eSamon woittbeqxe: B*ideoyeb it to notaeoeo eid ro otom
~otq IoA of bevtl of $ALE some moLtastLowrten atit ai nom.
-od9 to ,igsHh. xs98n-, ofomretst od bevom of tedel t116 Soniv.
-entlost bax eyslo taerettrs to aleit? Letévea ebait ef — .ude
yaud yrev sew od-,sisitetem ee ett. ete oe ae eon0: bas |
sYisesbat: ext? ME
te anivil won af ;attsbaseass wrt to end ,estvardolw edee
~stonetell off gaicbtostonem’at bra ,ofonretsal te ,etoctonediel
eaten od iho Like to ero weyslo owt to gichdecber:ts geau of -Litleyet
~otf-oT moxt wetted nde: bees oe Se ~fton00 ,#2tym-obtad koe
ber datwolfey s ead qelovetetxin aL? Lorotintanté Cana
-o8P ,ontiU mort vemoo ge tew ee 2ae ene tot yelo edt” »toloo
angieeh edt gattniag 10% teat eftdw owe? to toitdelb ine
~tdd emoe. Biea at #1 .uigod) (tasH wen \stado moxt Bemoo
-Vltasoet bean anied cela sts eleiveteam ecen
elidw. ,;bred yrev at Inevotomuvetel eit to exels ont:
oft to tuo bedonsid doldw ,tXeyswageint edt to tect
| | , “.t%oa al ,temrot
iatelan to totttats set-0 ss ak a tohewe gaint ‘
Mesvene (transom to moabrata ,otomuxel tx-oM.
Bsbeecore baw ,(888L)Lteox to TH9g faotes oft mi
to asontvoxg ne edt gulagies ne todtstiaets alc
. ,edeal , idol ognid udodl€ jotegel ,owsd ©, tak
- 8s erumed Gilnet eds to iHo bre _tuewl’ -osare I
aoe stoddetinerg ald evoted Doth bet texted ald
i ald nog e colts boog yrev & ‘oom: if ost oH

~comod Bow ed 12 'idaoyebtl to Brot taney & | gninoved

V=-35

ed with successive promotions in his official ranks,
but his manor was cut down to the seven provinces of
Aki, Suwo, Nagato, Bitchu, eae’ exeveadesend Oki.
Upon the downfall of the Toyotomi family, at the fam-
ous pattle of Sekigahara in the fifth year of Keiche
(1600), he retired into priesthood, and changed his
name into So-zui. At that time, the Mo-ri family
held the two provinces of Suwo and Nagato(otherwise
called Cho-shu). He died in the second year of
Kwanyei(1625), at the age of seventy-three.

The incense~-box of Fig. 28 is a specimen of Michi-
fuke's hand-made works. It is made of a pinkish grey
Glay and finished in a grey glazing. But where the
glazing is more heavily laid, it tends to pure white.
The bottom, the inbgee sot the cover, and the fitting
edges are bare of glazing. The coating is lustrous,
but not translucent or crackled. It is rather fine-
grained, but the texture is not very compact. It is

hard and heavy, and weighs 40 momme(1/3 1b.)

The forerunner of the Oniwayaki of Kishu was being made
from about Bunkwa period(1804-1807) in the form of a'some-
tsuke' ware(painted in blue on a white sround, } In the ten-
th year of Bunsei(1827), Hozen Nishimura Zengoro was invited
by the then reigning lord of the province from Kyoto. This
famous ceramist started to manufacture some wares of the style

of a Cochin ware, in a villa-garden(Oniwa) at Nishihama, be-

QB ¥’ eae

(eanet [sioltto sid ni emoitomory eviecsoorue itiw be
to asonivorg mevea edt of mwoh tro aew-tomem ein sud
£30 baw ~taewE ,ommel ,udot id ,otegel ,owne bth

-met eft ts.,ylimat imetoyoT od? to Ifietawob edd noqU.
edoled to tsey dttit.ed? oi stedegiaded to eftted aso
aid hannnde sien boodtesira otmt betiter ed: ,(00aL)
YLimet biol edt ,emid tadttA..°.,tus-08 ofat omen
_ ee twredto lotegal-fas ows to asonivetg ows edt bled
to age brooen edt nb bebb 0H .. (denon belles
- ,gerdd-ypinevee to oge ents (aSac teynewx

~tdetM to memioeqe ws ai 88 +ai% to xod-sansont edt ‘ Z

Yors delimiq « to.sbem at d1 .strow ebem-baerd & ' ostuipe

edt etedw cod. .antrels eX aot fedetoit bae yelo ~
', edi dw etd ot ebmed tt biel ylivesd, etom et anisels
goivgsiit edd foe .revoo ont 4, abbGht edit Moddod -edT
,eyottasl. et aniteos eT? osgaisels to eted ete aogihe
~ectt seater al ti ., .beliosro +o doeontanetd dom dud
ef 31 -tosqmoo Yiev Jon et estxed et tod ,fenters
tod L S\L)ommom Ob adgiew be a brs Brest

e Dent anted Baw y metal ‘to bieyewtno ‘edt to tenasre rot od
-emoe’'s to mrot edd mt (8081-20 £)botz0q ‘svat twode mort.
-ned edt at = 2 basso. etidw s 19 owid at Sedaisg)ozan' ‘oxsred
betival saw oxogaen erumise LM aexoH (996.2) foeant to te0% at
ald? .otoy mort somtvord extd ‘to ‘bxot gaingtet nedt ent vd
efyte ant te eexew emoe enirtosbontan ot bedisde teime1so axvonta’

-od ,ametide tt te { am ta0)aebsag-e itt a at ,otew ‘utddood @ to

V--36

longing to his lord-employer. Hence the name "Oniwa-yaki"
(the garden-baked). They are very beautiful pieces of
work,,made of a greyish brown clay and glazed in yellow,
violet, gsreen, deep blue, or white, of strong lustre and
translucency. They are hard and fine-grained, and are so
very exquisitely made that they are scarcely inferior to
the real Cochin. They are marked "Kairakuyen", either
stamped or written. In the winter of the same year, the
Rats pfek Wane aie cea a gold stamp reading
MYeiraku" (see Vol.VII.), in consideration of his excellent
workmanship. In about Kayei(1848-1853), the factory was
moved to Otokoyama, but the new output was much of the same
sort, only slightly inferior to the earlier ones in quality.
They are eae) (Otckoyama of the Southern Kishu).
((S¢%-(853) y

Then from the Kayei period, Mixunog Tosanokami, one of the
rear vassais of the Kishu family, stunted a factory in To-
kyo ,ab Haramachi, where he made wares of a siinilar type to
the Oniwayaki, in order to enhance the name of the Boods
made in his native province. These Tokyo wares are marked

—_

"Sanrakuyen" x but their quality is hardly comparable with
)

even that of the Otokoyama wares. The Tokyo factory was

discontinued after a little while, but that of Otokoyama

was running until RE on ten years ago, when it was also

abandoned. About eight years after that, one Miyai Saju-

ro began to make similar wares at O-tamura, two or three

miles east of Wakayama, Kishu, but his works are much coar-

ser and less skillfully made than their predecessors. Then,

‘2s le

“tia y-ewin0” eltten out Sohal prego tyaee bo loeta ot anbeitos
to asoaig trtitweed virev ve yodTt ot Sietetc aban edd)
swolfLey of Sepals bax Yelo awotd detye ts 2 to” shan. yatow
bre stteok ano ce to: ed itty ro entd gosh aeahie welolv

oe otk has borletg-eatt boe Stat ete yedT ~ | yousorLens i
) of tofvetal ylesteoe ste ysdt tadt shan eletietypxs TtTev
teditte ,"neyrietied" Bbedttecr ore -yedT yatdood Ipex’ erft
edit ,Taey emse sit To natnte oat ni ‘,fedtirw to beqmeta
ani beat quate bLos a. at ow por add yd econo! am goltre,
tae lfeoxe abi to rotterebbanoo mt ,{.1IV¥,L[o0V oo) "sxetioY",
gew' Yrofeet eft ,(EdBL-BAGl )fezeNh tooda at .qfilenanctrow-
ome oft to dove saw sia dnd wen eft $i ail ORT 8 baron |
uti Cen, at nend “ellie ont oF solietat oe “ine ,droe
, Lint EM eventtsto® ead to aka qeusie) 8 Sy Sema ete yotT |
add -to eno | imexonesoT noanet’ penne Levysek ons mont feat.
~o? nr yrotost # bottaee TLL rAere eit to eledemy tet
ot sqyt telivtte 2 to denah ebam’ on evedy »itoeznera te, ‘ot
, abcea ait te snes ent coeds” ot Tebso hi \txeyewind sat
Sewten. exe gerew oyxoT sed? / .eontvor eviten etd wb shes
aiviw oiterae ylbrad al git fairy tients tad 4 "neyoute tase"
Bey yrotoet over edt + .@etew site yoo 70 ‘etd to tedt neve
_auayoxotd to tect +a! sotkste. slttif s ‘tedts henntiacoeth
oats asuw Hi sreuiiy De ay) ateey 08 tuode Litas ‘geinage aww
nubs? boyit eno” ptedt totte eee tigre iwods -fonotaeds
eexdt to owe scrimet=0 ts aerae refine elem haa naged eg
-tecs dou ete extow aid aii), atl suave 40. tess onrte
,fedT _sronopontong alee, send oben eT ee soot baw 198

V--37

there was another Kishu man, Hotta So-juro by name, who
started a factory in Kobe only last year. His products
are prettier than the Miyai wares, but none the less very
coarse looking compared with the earlier wares. |
The fire-box of Fig. 29 is an Oniwayaki, made of a
greyish brown clay and finished in a deep blue glaze.
The design is in lighter blue with its outlines in
white. The glazing is very lustrous and translu-
cent, like a glassware, and is even more beautiful
than a genuine Cochin. It is hard, fine-grained
and heavy, and weighs 200 momme ( 1 2/3 lbs.) Be-
sides the stamp "Kairakuyen" > =6, it has the date
of "the eleventh year of Tenpo"(1840), both written

in green,on the bottom.

)

Awa jiyaki was started about forty years ago by Minpei,
who had learned the trade somewhere in Kyoto. The pre-
sent maker is the second of generation. A cousin. of Min-
pei, Kazu Sanpei by name, was also making some ceramics,
mostly copies of Cochin wares, painted Koreans or Ninseis.
Their works are very hard in clay but rather soft in glaz-
ing, though the latter is strong of lustre and beautiful
in appearance. Minpei was a doctor and naturallynhad a
fine taste, which enabled him to ere beautiful works.

The one drawback of his works is that the glaze can not

retain its beautiful lustre when it is baked again after

vs..7”

ofw ,emen ud ort-o8 sito ,net wiett tedtone sew wine
etomsboug alH »T29Y teal ylno edox NE vrotost ¢ betiete
yrev geel edt Gach tad ,eete# ieyitt od sedi seittetd ets
eortew tel itaes edt dtiw beveqmoo wninvool eetseoo
gs to sham ,iteyewtnd net et es git to god- ott? on?
.osels enld deeb 2 at bedetinit base velo mword daivers
at gentftso ett dtiv enfd setiatt at si ogtesh oft
-~slanaxd bas avorttest qtev at ganiselg oAdT 93 Law
futttseed erom weve et bas ,etewaesfg e@ exif tire
heniets-entt ,bred ef $I iuideed “édivae’ & fedd
~oo {.adf &\s £ ean OOS adartew bas -eidt bis
eted wilt gad Vi iy. 4 P peymistis®" omete edd eeble
netiinw diod ,{(Ob8f)"“oqnst to stsey dinesvels eft" To

smottod: ed? no, festa at

,feqait.vd o9e ateey.yttot fouode Setwate saw tleyttewA Xt
~etq edt -otoys ab etedwemoe ebett edt bhentaol bed odw
-~aiM to atesoo.A ...moktetenes to bacosa edd et texem tues
,eolmates.emoe gattum oalé eaw ,omen yd tegne? s2% tog
Jtteanti to 2neetod betmis¢ getew midood To aeiqoo yiteom
~selg of dios tsediet Sard yelo mi bred yrev ei exiow tledT
[utidnsed bas extawl to-gaowe et yettel edt dawodt. .gat
8 Jediuglletoiso base Setoob sa agw teqnill ..sonsigeqqe oi
ediow, [Iutitused eden ot .wid beldens foidw otast eott
Ton eo esels edt tects at exxow aid to aoedwarb enc en
tetts nieys betad ab tt nedw ettert Ivtitseed ati mister

V--38

the design has been painted on.

Awajiyaki is made at Igano, Awaji.

The wheel-made plate of Fig. 30 is a specimen of
Minpei's works, copied from a "painted Korean".
ae eee of a greyish white clay and is covered
with an opaque glazing of beautiful white, not ex-
ceedingly lustrous. It has cracktes of large size.
It is decorated on the inside as well as on the out-
side. The bottom is glazed indull brom. I+t is
sandy and coarse, but hard and heavy, weighing 76
momme(about 2/3 1b.) The stamp on the bottom reads

"Minpei™.
Ninegawa Noritane.

December of the tenth year of Meiji(1877).

8S--¥

"fo bettie weed sel ogiesbh eft
Jitewh -,onesl te ebam at integttews
to nemioeqe 2 sf.08 .9it to stata ebam-Toortw’ of?
-"aeetoX bottiaq™ « mort beigoo ,axitow e' Lega tm.
hetevoo ei Bae yels etidw deivera eto akan a a
~xe ton ,etinw futitueed to antasls eupseqo oz dtiw
texte esgtel to aeiiaast acl iT <erortaent ylsntheeo
~tso sdt.00 e8 [few ez ebtent edt mo Bbetetcosh st st
ai I .mvrord [feb ot bessls ek mottod ef? ebte
aY goitigiew ,yveet fos Brad tod ,eatsoo hie Ybraee
ebsex mottod edt bo qmete of T- (rr. 8\s tuode )emmom

."feqain”
<onstiiow ewegeonih

-(YYSLILE LM to teey dinet ef? To redasoed

Kwanko Zusetsu

Illustrated Notes on the Antiques

Pottery.
Vol. VI.
By Ninegawa Noritane.

October of the twelfth year of Meiji.
Lee

petesarss ovcewh

eegoiigk et? mo esto Sstarterlit

»Gredttod

*

aegsvitoH# eswegenta ya

ttieh to ta]ey ditiewt ent to redetod

eOVEL

To make a research of Japanese pottery, one has to#re-
sort very often to various opinions and traditions, and sifft
and test them himself by material evidences where possible,
as Gudtyobl records of pottery are so very few and scanty
that they are scarcely of any help to the eS aeee As
to things more than seven hundred years old, some archaeolo-
gists are better to be consulted, as most teashesters can
give opinions only about tea-utensils or other wares of
classic type, not more than seven hundred years old. Vet-
eran local-governors or ex-tea-ceremony-officials of the
feudal times are apt to be able to give light upon the
history and progress of the local products of their pro-
vinces. As regards the quality and value of an individ-
ual piece, intelligent collectors may best be asked. Tradi-
tions can be had at various temples or in wealthy old fami-
lies. Manufacturers can tell about the qualities and
localities of ithe materials. Some local governments can
oftén give some useful facts concerning the history of the
local wares, while as to new things, we better ask judges
or comnittes of one or another art exhibition.

Then again, treasures owned by temples or dignitaries
are specimens of antiyues very well and nicely kept, while
those in the hands of dealers are usually in besmirched con-
dition.

Depending on such sources and evidences as I could get,

and my own collection of more than twenty-five hundred pieces,

~et ot aad 10 weetd oq esenscet to dotecaet 8 oxen of
ttin bra ,enotttistt fire anothige ehobiev ot Ketto Yxev ton
,eidiesor etedw seoneiive [ettetam yd tieamid meds tast bus
Uiniese bee wel ViIsv oa ste Yrstiong. to whtaces died ade 8B
eA sTossgivaovat adit ot qied tne to yieotacea exes yedd tady *
~ofoessdorts saoe ,bfo atiey fexhnnd geves asdd etom agents ot
fad atetasm~set Teou as bet ivenoo od of tedved ets atets
Ido aetew tedsvo' ro alienséu-get tnode xiao anotniao evig
a te¥ blo artsey Berhaut mevee cadt erom tom ,e¢qyt otsasis
edt To @letottto-~_aometeo-set-xe TO cha geun: taeue fists.
edt mnogu tig t ‘evia ot efdd @d of tqe exe gems febset
~Oong tledd Toe atonboxg facol eft to geeTg0td bas yrotatid
»~Bbivibat me to ouley be ett fait ect ebie99t aA eBeonty
~fhet? betes od feed Yea aroteerfos tregiffetat 90ely tin:
~imet Lo citteey ai ees) walquet arciey ge Bad ed nso amotd
Baus. asisifany eit tuode [let ago stoutostoned eeehs
neo atsemarevom feovl eate@ ~" .efetvetien edt Yo aesttiteool
efit to yroveld ad? grinieonoe atow® ‘uteass exied évis nétfio
Beghet tea redted aw egiietd wen oat e2 Bi toy ,eetew Cgool
mott idtses ite tedtone to eno to sett iomos <7

aeiretiogis TO eeLamedt vd betwo eexvasett wwiese gcoit

efidw ,tqext ylecia bre [lew Yrev geugit os to anemiosqa sis
~100 hedorinaed at yifeues aus axelaed to ebasd edt of eaodt
; | . , obt bb

~2 93 AEuod I ee geonebive bos Bsoruoe dose 0 gnibneqst

,29oeig bexbaws evit-yinewd nedd 9tom as dottoolioa. sa ee ine a

VI--2

old and new, I have tried to classify the Japanese pottery
in the previous five volumes of this book, according to
their ages and localities, but I must confess that the re-
sult of these researches of mine is far from complete and
exhaustive. Few archaeologists are inclined to make a
comparative study of modern wares, besides the older ones,
and manufacturers do not know or care about antique: goods.
So their opinions and ivaeaage are rather extreme one way
or the other and even when combined, they still leave many
Bap, KO to speak, to be filled somehow to enable onecto
get a not altogether disconnected knowledge of the history
and progress of our ceramic art.

Actuated by a desire to make more complete my studies
on pottery, I left Tokyo on September sixth of the eleventh
year of Meiji(1878), on an investigation trip which extended
to November twenty-third of the aig During the
trip, I visited several provinces along the Tokaido, and Kydto,
Yamoto, Kii, Awaji, Awa, Sanuki, and then eee Bizen and
Harima to Sattsu and Izumi. Besides collecting more than
one thousand specimens either from local collectors or dealers,
I have been rewarded with a great deal of useful information
and knowledge, as to the furnaces, various implements ee nea ee
try, materials, methods of making, old ruins of furnaces, their
topographies, and treasured specimens of various temples, et
cetera. The forthcoming two volumes of this book are some

of the results of this last trip of mine.

8~-TV

yraiiog eeensget oft yYileselo ot beitt. eved. 1 ,wen bos Sfo

ot gaibiooos ,#00d aint to aos [ow avit SRoteP td edd of

~et eft tadt aestnos tana I dud ,eelsttavos hos eens ated?

bas. etelamoo. mort. ast ef anim To sedorses 9% eeedt to tinue

8 eaat.o¢ beaifoat ete evaigolossdoig wet -evivasadxe

, oO eadebh se eed-boed ,8STs0 sishom to ybote eviteteqmoo

aber munitns trode ets to word tom of ateistostunen Brie

Yaw ono emertze teadtse% ie eabolwons ban enotaigo tiedt 0
Geen eveel {lite yous bonidmos neste: neve bus tedto sds 20
oteeno olfdane ot wodemoe Jolfit ed ot seq ot ou .aaeg
yviotain ef? to egbelwont betoentosaih reddogot le ton ae tes)

| 7 tts oimeres. io. to Baetgoty bass

aelbute. ya stelamoo eiom exes ot etiach s yd betsuvos

ditaevelse odd to dixnia tadmatqos rate) uci tTteL tf ettettog 0
bebastxe tio itdw abe nolisgitgernt fe mo ,(O°EGL)ifbeM to t2e0ey
oa3 gait | * 4 Gey emee edt to bridi-yiaews xodmoevoll od
,otoyd bas ,obLeslo? edt. gaote. seonive tg LeReveR betiaiv I eqits
bos cost davordt sed? bas ,idvast SW »thewA.,f£% .,otomely
add . 19m gaisoelioo aqbreet > oe teied bows setdpe ot sults
,atef[eeb to atotoelfos teeot moyt.tedtie anemioeqe baeesodt eo
moltanr ots fvteau to, feel enous a dtiw Sebtawes meed svad I

‘ einhiss s at nemefomk avoltey sean eit of ax ,egbelwous Brie.
ttedd ,secsntut to entut blo, ,gaiden to ahont am alshretem Ute
te ,zelqmet anol tev dé danezoent betoavusit Has aetiqetgoqod
emoa ete food eid? to, semtloy ows git ino od 40% eat _18tede0

,enim to qite test eins to atiuaes eit to

VI--3

Shidoroyaki is made at Shidoromura, Haibara dis-
trict of Yenshu. ifaw on September minth of the
twelfth year of Meiji(1879), that I first went there.

The village is about three miles and a half from Kana-

ya on the upper O-i River. The earliest furnace,

which still exists, is said to have been built by

priest Gyoki. Other old furnaces which were excava-

ted sometime ago are also of a very ancient date, and the
fragments of pottery \in +hem look very much like the so-
called Gy oki ware. Anyway, they must have been made more
than one thousand years ago.

The next oldest works of Shidoyare a natural-glaze-
ware of the"classic™ appearance like a Shigaraki or Imbe,
made of a brownish clay and finished either in a brownish
glaze or in a yellowish dark brown of uneven thickness anid
tones. They must have been made some five hundred years
Or more ago.

Ever since that time, the industry has been carried
on there. Down to about the Tensho period(1573-1591),
the output was mostly in the line of the "sundry" goods,
such as jars, or long-necked pitchers, but very few things
were made in the line of tea-utensils. These Tensho or
earlier products are now called tr Ko-Shidoro (014 Shido-
ret, It is from the days of Nobunaga and Hideyoshi that
any tea-utensils were made there, finished, unlike their pre-
decessors,in a double ceating of a light-brown glaze, probs

ably acquired from Seto, which is not very far off. However,

(A diane . es

#8 ih stedtall SAtemotohice te eben at iXeyotob ia?

edt to cuddetes x~edmetqel to exw tt idaney % toixt
.eredt toow tetlt Lr tedd ,(evGL)ttiel to teey Ast ifows

~ ene % moxt tiet 2 Bas eelim estas ¢soda at eteliliv edt
,sonntnt seetixes sit -»COVin t-0 megan act no ey

ud $line fread eval of btae et ,atetxe [lite dotdw
-stsoxe eiew dotdw eeoantit Hlo yvedtO | » fioye teoteg

eit hog ,etab tnetons yrev a To cals ets oge smitemoe bet
~oe edt exit doum yuov stool madd atl erettod to. ataesgett
etom sham seed sved denn ved) ceaceh . OLaW ixoy belLao
| 088 BIS8y baeduod? (eno nad t
tela-[eiwisen 2 etafob ide tc extow tesblo cxen oat i
,edml to. idetesgttt s exit sone tseqaa "otazelo"ed? to ets
feimwotd # ct tedtie bedeinit bare yelo deitmwoxud e to shen
Ding geenvoldt sevens to avoid dreb faiwolfex & OL to eselg
artaey dbexrbhosnt exit omoa shem geod eved tain year -eonmot~
| ? oan etom to
beltveS meed ead extaybat edt , emi? Sect} santa teva

it fear~ EtG L | bolteq dueng? edt trode of awol setens 0

,eboos “eticare"™ sand td. -ontt add at ufteon Baw tuqtwo ent

}

ganind wet YIev ding Ce etatte bovoen-snof x0 atet ge dose
<o offense? oneat? ,altanetu-set to eafl eat ni ebam exew

-obide £f0) onob Lhe oi eff Beffso won eta atouborg “alltas
tedt ideoyebit ite 2 aanvdot ° to ayeh oft mort ef ¢I Tox
—eig tieds oxi tas bode talt foxedt a bate oton altansds-sed qoe
ad og jeasts nword-ditgil & To anitss efdsob 2 at \atonacsob

\xevewoH .tto wt qxev tom ef dotdw. \6te2 moxt boxinpne ylde

VI--4

it was acquired, it is a very beautiful glaze, lustrous
and cransteieks. As there is in existence a diploma
given by Tokugawa Iyeyasu to the factory dated the six-
teenth year of Tansho(1588), it can be safely supposed
that the factory was in quite a prosperous condition
before that time. |

About the Kwanyei period(1624-1643}, tea-utensils
of various sorts were being produced in a large quanti-
ty and the famous Kobori Yenshu had some pieces made
there specially .to his order. The output of this
period is made of a fine-grained brownish clay or of a
greyish Lient green one. The glazing is lustrous and
pangheetp and is of yellowish or blackish brown, or
sometimes bright green, usually laid over a brownish
underglaze. As a rule, the products of this period
are rather light in their make-up and very deftly made.
It seems that glazing the inside of a tea-jar was also
introduced about this period. Sometime about Kyo-ho
(1716-1735) the factory was moved to Yoko-oka, a little
north of Shidoro. The stamps gare , both reading
"Shidoro", were first used about <.. o

Some old furnaces of Shidoro are still in exist-
ence on a hill, behind the Kwannonji temple, but no
pottery is being made if®the village now. It is from

’ oko vka

the furnaces,that the modern Shidoroyaki comes, The
recent output is much in the style of a Cochin ware,

| wr
finished rege anaes green or brownish glaze,

avottent ,esata Left itgaed HT eat Ol.
gig 8 sonetalxe at ii eredt eA

benogase yletse od. Teta ge (898. )6dena” Ye. agey atncet :

moittbaos ETO ET, & ot Lup at @aw. ime: ‘entd tend
vomit? thaats exdtes
alltensts-se7 #889 E9800 hots90 teynewt ott tito» ;

- bitmesp satel 8 at beosboxd anted stow ‘ettoa. asobtav te

ebam. eeosatia emes had oitkcey bxqdon avomat ent Dems we

“pidt. Yo, “tratsio. aif

totzen eas to aoubone oak. var s ae.

oe teno, inane ite
Bae 009 gto efyte,

VI--5

and sometimes painted in a rusty color. Some tea-
pots and pitchers are made of a white clay and not in-
frequently decorated in the style of a Kiyomizu ware.
They are all very good, but those in the time-honored
"torafu" glazing are especially beautiful. Tea-jars,
flower-vases, jars, and plates are also made.

The white and blue clays, which they now get from
Minamida and Kamaya of the village, are put together
in a pail full of water, well stirred up and mixed, and
then left to setthe. This settling process is repedt-
ed in another pail before the water is drawn off and the
clay is spread on a board to dry. When it is dry
enough to be worked upon, it is well kneaded, applied to
a wheel, and shaped with the help of a spatula into any
desired forms. After some time of drying in a shady
place, the unbaked wares are put into the Peru eee otek
with a mixture of certain guantities of powdered pink stone
which is spe Sana in the same village and ashes. This
mixture is that which comes out as the glaze when the wares
are taken out of the furnace after their due course of bak-
ing ,which takes about six or seven days. The first two
days are for actual baking, and at the end of this, the fur- .
nace is closed air-tikht with some mud. The remaining
four or five days are for the contents to get gradually
cooled. The glazing which turns fon from the mixture of
the powdered stone and ashes is called "torafu" by the local
manufacturers.

There are two sets of furnaces in the village now, both

“Bet emog ‘s +0L00 weve s a Detntag sent eae be
~Ot ton bam yeto , etidw £ 29), ‘bem, OLb atddotig Bocts aton |
LAW salaoyes re) 20 elysa. oid al Betatoneh Ultmeapert
hbetoced-omit rit, rl onodt tid 5908 erer ‘fis ets ‘yout
,a%Sh-9T _futitgued qilaloeqas ote gubaels “ster

phan oats ete aetalg ine ,atel .eagv-towo lt

mort tes wor yedt dotdw peveto auld bue otidw eat

. zontegod tua ete ,easilty aft to ayamey bas ebines i

hae ,bexin bas qt berxite [few ,tetew to {ist {leq @ ot
~thaget «el saeoory guiistoa efat (ee OES 98 ot tel wott
edt Bae ate swe ai totaw ody stot ted {leq tedione aE. be
Grs ¥ oi modW .. .¢th of bread B M0 beotqs at ysl
ot betiqus Dobson flew el tf ,moqw ‘becaas ed of Aguone |
wae of itt aluteqe ry te qied a, iviw beqede— bos sieodw 8 ;

| qhede 8 ot aalyth te omtt amon testa «arto 't boticeb
hereveo sosmart edt otal tug, ee ets besedas dt ,eoata
nota wnia betebrog te aettitasup Slat teo to ecard tat 8 dtiw
elat . ssgndon ches bane ones A ag at buwor oats al dotdw
astaW, edt sety esata edt as ae tuo gentoo donde teidtt ak oxutxin

ted Yo eaxsoo, ub ape aatya: sean x? out to ‘ta0 noted ots

“owt texkt ont “seyes forse to xte teode gate? fotdw, Bat
wit ent, antes bad bas est awe foutos. zo8 ote. sab

VI--6

built in the style of a Kyoto furnace. But one of them
has a round compartment in the style of a Seto furnace
attached to the back end of it.

pe ae to Suzuki Kenjiro, Yoshishige, Risuke,
and Shizo, all of the Suzuki family, and the other be-
longs to Suguki Kayomon, So-bei, and Tamekichi, also of
the Suzuki family.

The wheel-made tea-jar of Fig. 1 is a specimen
of Shidoroyaki. It is made of a hard, fine-grain-
ed, and somewhat sandy clay of greenish grey.

It is heavy and weighs 62 momme( about 1/2 1b.)
Its lustrous glaze is brown with reddish streaks,
rather heavily laid. The inside and the
bottom are not glazed. It seems to be some two
hundred and eighty or ninety years old. The
inscription on the box was written by Kenzan, and
reads"Tsuru-So-tamago(eeg of a stork) of Shidoro".
A little poem is found on the inside of the cover.

The wheel-made tea-bowl of Fig. 2 is made of a
hard, coarse, and sandy clay of a greyish tint, and
glazed in a somewhat transite brown Py eo ecn a
streaky effect. The foot is bare of the glazing.
It weighs 100 momme(5/6 1b.) It seems to be about

two hundred and fifty or sixty years old, but rather
eearse looking beside the tea-jar of Fig. 1.
The image of Fig. 3 is another Shidoro, made

with a mould. The clay is reddish brown, rather Cowutry

mett to Sno THe * eosmert sibhced 6 tye att RE Pte
Soanint ston ‘8 te eryts edt a ‘taom?teqaoo ‘basor 8 ae
adh to ‘bre Xoad “dt ery Beiiostts
,ouuvela wsaiderduoy. oxitnsX Eiaade perma ses

~s¢ tendo odd has -ylime? .

= D es Yo {te osite Bas -
to oats abil iy bra’ beds of ,domoyex dolrast2 ot eanol
an -ylimet Hate od?
semtioeya 8 ef f ght to tat-20F eban-feede ett
Jnbeta-eni? Sted 2 To bam et ¥2: .tayorobid®, 0 -
«Tors dfatnoety to wie eons testvomoe bas ,b6"

t: df s\r txods )enncn $3 arigl ew fous ¢vded) at $F...
eteetta MelhBer dtiv nword ef-essly evortant’ etl
"sont Bae ebledt edt ) bte£eftveett tedtex
ows estan ad. oF anos ae: { {boas fs Fon exe moditod ).«

ed?” “Bie” BIsey ‘vente x0 Uidate bre Herhasit *
bre , aaened vd fedtixw, ae xod ett ae ‘mottqttonnt a
Motob ist to (ito ‘s 0 age Yogediad-cd-wesdP anaes ii |
<tevoo dite, Yo sbbaxk edt “0 Sauot et ‘teen eftthr A’ oe
= to ebsir “re att to: fwod-wet ebume Coody ont oe
‘bits’ tant datyorg @ to iste ee bas. joutden (otad’
ae othe isle bo |

Uh--7

and sandy, ,fairly hard. It is pretty heavy, and
weighs 475 momme( about 4 lbs.) The thin glaz-
ing is light brown end not very lustrous. The
base is not glazed. This piece seems to be
about one hundred years old.

The wheel-made cup of Fig. 4 is another spec-
imen of the Shidoroyaki made with a@wheel. It is
made of a fime-grained reddish clay, and is rather
soft and porose. The weight is about mediun,
and weighs 41 momme(about 1/3 1b.) The under-.
glaze is dark brown, over which are laid two coat-
ings of light brown and green. Both the outer
glazes are trans OEx and thinly applied. This
piece seems to be only about fifteen or sixteen
years old.

The wheel-made pitcher of Fig. 5 is another
specimen of, Shidoroware. It is made of a grey-
ish white clay, hard and fine-grained. it is
of medium weight, measuring 79 momme( about 2/3
lb.) The green coating of the top is ims-
trous and thinly laid, but the rusty glaze of the
body has little lustre and rather thickly laid.
The deSigns were put also in a rusty glaze, but
another coating of a lustrous yellowish green
glaze #4s thinly applied over them, which makes
the designs look as if they were put in brown.

The inside and the bottom are not glazed at all.

Teak}

bos ,yveed ytietq at t1 . Stead gitiet, vous bre
~sefg aidd eAT (ede bs taoda Jemmon ST) afgtew
ed? asottayl ytev ton Bas iewoict tfail ef gat
ed of smese soeltq sidT »beseig ton et eaaad
blo etaeg berbaud eno trode

«peqe tedtene et & .atf to oud sbam-Teadw edt
ek +I sleodw a déw shen Exaperehine ent To sent
tediet ef bas ,velo ia thhen bontetg-omit s to eben
mus Eom tgodes af tdgiew sat se8otog bas shoe
~tebas eff (df S\L Svods)emmom {5 edgiew bie
-ta0e ows Bist eta dotdw tevo ,awotd ated et exslg
setvo edt dto€ meets base aword digit to sant
aide Setlacae ylaidt bas pol enact ete gesslyg
“goedxia 10 mest tit trode ylno ed of emese sodetg
oh Lo BIsey .

xedtons at 4 +ait to aedotia shasn Lanse edit

-yers. B to oham ef Tl ~ ,pxewotobide 2 to einhaeie
ai #1 bonietg-ontt bain brad «Welle otidw dat
8\s tuods )emumont RAY act ivagem trigt ow mtbem to
. -anl af got ego: to gaitaoo eeTS ed? (dL
edt to esefg Ytant ont tid. biel ylaidd bas axort
sbLal vitordt redie7 bas extant efttil ead ybod
tad oxely ytess 3 at cate dug oxew pmaarans eat
. “meets daiwolley anort amt & Lo anitaeo zoiitone
3 eaden ao tate sort? 970 boiiata unnat ach esels
-aHoTd al tag e168 7 tod? i a8 ‘toot dagiesh eae”
nar te. pesala Tes ots rail vit etd baa ebtaat ed?

VI--8

This specimen is only five or six years old.

Ws Seamaneradas must have been made at Ochiai, Aichi dis-
trict of Owari, as there are several ruins of old furnaces
in the nearby hills, as I was told on this trip(September
twelfth, 1879). All of them are built in the style of an
Owari furnace. On April twenty-fourth of the same year,
some potteries, evidently imperfect ones, were excavated
from near Okehazama. Two saucers, one about six inches
in diameter, and the other three inches, and some jars and
Perle covers were found among the excavations, all of
which look eight or nine hundred years old and very much
like the ware vopulsrly known as the Gyo-kiyaki. The
Bengyokushu has a very brief remark of the Ochiaiyaki, but
it says it was a very good ware. It seems the industry
was carried on until about Kwnyei(1624-1643), though of
course, the products of that late period must have been
glazed wares.

Ochiaimura is not far from Okehazama.

The bowl shown in Fig. 6 was dug out from near
Okehazama on April +eety-fourth of the eleventh
year of Meiji(1878), and seems to be an Ochiaiyaki.
It is a wheel-made piece made of a greyish white
clay, medium-grained and hard. ae is heavy and
weighs 86 mommef a little less than 3/4 1b.) The
base is not made out of the same piece of clay

as the body, but it was made separately and fixed

4 “ae

Gs TY ; :

“bio etsey xke’ xo evit yino et semiosge afaT

~ai® Ideka tained je ebam mood even tana iaetiodnan dt
esosniyt Blo to eainut letevee sts otect ee ,iteawd td toric
xsdmetqee jqitt aids mo Biot aaw z ae erred yiresn edt oat
ne to elute etf al tited sxe meny Tod Lik (OPAL .dttlews
,Teaey omes sat Sar dduadhcdaaas fiwqA “10° | esantut txawd
botaraoxs si19w jaono tot qut ¢ltnobive <Beftettog eantoe
gerlont xie wiods” eno recites owl °,S40a8edex) tTaen moxt
bas atet emoa bac aedont cord tedto out baw Qtetomerb at
to [fs ,anoltaveoxs edt goiome basro% stew wives dF tw atwod
doum Yiov bax Bio exrasy Setbhbasd sale +6 $date eet ‘dolaw
eit ,idsyid-ovo edt ee nwond titeioged rab? bas exts
tid, tfeytetdod edd to stxenax tettd {tev 2 Bod wdantovanes
yrdeuhor efy enaeg TT ,@taw 5oog yrev «sav tI ayee st
to dgrods (8bar-a8ar) isvaet tuode [ttag ao bettie. saw
nesd ‘eyed tacn Bottedq eet tedy to atonborq edt 98THO9
) | he e980 Henutn
‘aisesdetO moxt tet tom al sismisided ,
Tee8en mort to gub sew 9. seit at nwode Lwod oc?
Htnevele ods Se deewon gteeey [htqA 16 smasedex0
ttayis tied se ed of ‘umesa bis °,(@T0f) EL Fett. to THSY |
otidw détyerg 2 to ebsm sosiq sben-feartt a at I
bus yveet ef tI .hrad bas bontevj-miibom , ye to
ef? {df S\8 madd aeet effttt 2 Vomnon a8 edgtew
yelo to eseiq ems oft to $0 ebem ton et eaad
exit bas yfetareqee Sham eaw Jt dud ybod oft as

VI--9

on to the body. While baking, it must have been
covered with ashes, which combining with the vit-
reous matter contained in the clay formed a sort
of natural glaze of lustrous grey with a sucgest=
ton of green. As it was baked with others, one
on top of another, the middle of the inside is not
elazed. On the base, there are marks of some rice-
husks, which must have been used between the wares
when they were put &nto the furnace, to prevent them
from sticking each other. ; It looks to be eight or
nine hundred years old.

The saucer of Fig. 7 is of the same quality
and make-up as the proceeding one. It is cover-
ed with a natural glaze along Ne upper edge. It

weighs 16 momme( about 1/8 1b.)

He wesiitae was made at Narumi, Aichi district of
Owari. When I was there on September twelfth of 1879,
I was told that there were several old furnaces in the
neighborhood, similar to an old Seto furnace in their
construction. The Narumi furnace is not far from the
Kwanonji temple in the village, where it is said the
industry was carried on down to Kyo-ho(1718-1735). The
early Narumiware seems to be of the same quality as
those old pieces unearthed near Okehazama. Later
products were mostly in the line of sundry goods, with

a Seto-style glazing, and so were not very widely

Qo~I¥

need evad team tf ,aatidaed offay ebodiads at” 0

~tiy edt atiw gitaidaoo ftoltdw ,eedesa Atiw betevos

TXOB 2 beartat velo. odd tk bentstaos cibtdn tines

aT eenoae & Atiwoyetarevottesl to tate fatuten to

eno ,Artedte Ati hewed caw ti cA -feetg To gol

tone ebbeat edt to. elhbim edt tedious ‘to qos 0
-eoit emo to attem ts wtodt Geed oft o) | .bexsTs)

esitaw edt moowted bees need evad tem dotaw ,etand

med? trevetq ot ,eosmtut edt otnp tiq.ovew yet? nesdiw

tn thet sd of -edeeal gL -t5dto dose gnitsita mort

| ~bfo atesy Betbacd gate

Vilifenrp omee edt te al Fuswtt Xo teotiga sdf :
~tsvoo al tT ~906 ‘gatbesvony edt 26 qu-oxam bas
tI anaes tegos edt ano fs éselg [atetan # — Se
t.df a\r tuoda } euro af shies a

te toirtets ifethé ,fonrvetl. tee d.en dew dtacheccen ob
OtBL to dttiewt redmetqe2 ao exedi esw I aedW- + .teawo
edd ai asoectn't flo Lexevsa ‘exe ovest? tait Slot esw 1
tien? oat soemtst ote? bo. a oF aelimie ,boodtodigter
edd moxt ted ton ef fooal-satt tiaret sd? swottostdence
edt Giea et th erentw soQelliv adt mt slqeet ttmongwi
ent ABV E-829L Jom«oyk ot awob 16 beberas gew yivesbot
. ag gt blerep enae odd to ed of asioea otewhurtel yftse
ooteal smeeeiedo T2890 boc isecn accsiq ble eeodd
Prien’ ,aboog Utbave, to emit eft fk _iteom etow atouboxg

~ Rlebiw: ade lace orew Oe ‘bow sgatsely elyte-oted «

pane

VI--10

known. Those that are\ decorated with some queer paint-
ings, which are: said to have been suggested by Oribe Koda
are called Oribe, instead of Narumi, though some Seto or
Kyoto wares with similar decorations are also ,by the fee-
Ae pemes. Then again, those having the Oribe style

of decoration, but finished in the oldtime Narumi glaze
are called Narumi-Oribe.

Narumi is. between Seta and Chirifu, and a littie
over a mile from Okehazama. The ancient Narumi is
about one third of a mile from the present Narumi.

A book titled,Chado-gu(tea-utensils) says: " The Nar-
umiyaki were so called because they were made at Narumi
about three hundred years ago. They were ofavery beau-
tiful shape. Later, when Koda Oribe took a fancy in
them and had some pieces made specially to his order,
the wares began to be called Cribeyaki, of which a great
many specimens exist. Of course, those that are called
Oribe were not all made to his order. Works of later
periods are as much differnt from the real Oribe, as the
latter are different from the early Narumi".

It says Ru ropes rr that Koda Oribe Shigekatsu had

only sixty-six pieces of tea-jars made to his order at

Narumi and distributed them to so many provinces. Bb ee
is why they are so scarce now. They are made of a fine

pinkish clay and glazed in a reddish brown coating with

some yellow spots. Thenitokiri and the make-up of then

mouths are beautiful.

Of. TF

~trisa reens SMO dgie Weksxtesk eta tadt esaont . .awomd
aboX edix0 yd beteasaue need svat of bise ets dotiw ant
TO ovek smoa dasiont fuptel to beadeat ,odixO bellss ets
mer edt wheels ets giro feataced tealimie dtiw eetaw hot
eiyte adt39 sat anived saocv tage red? | SP voagell
asely forte eutsito eat mi hedatart tird Tet radbees to
| -edit0-Imeret Bellas ets
elsitil s bas tired bce peek neewied ait tmotel.
‘et tew1eE tretons of? .attasadtex® sort efim « revo
.impre™ tneessq ont mort elim 2 To bxtdd eno THode -
-tei ed? " seyee (elloncts-set )g-obadd Wrices aocd A
boirxa te ebem otew yedt onlsoed heffss 08 exew agree
~ Spec Cisvato SiSh ane ~OFBS eteet biakant eed? troda
mt qonet 8 stood adix0 B50x nedw rote2 .sqaits Iwetit
,tebtoe eld of efleteeus ohan geoetq somone bed bas mel?
‘tgeta e doidw to, isleyod ts beliso od oF weged geraw edt
beliso ste tadt sadist ,eatos pt Soa -ytetxe gnemibeqa Y fen
xetel ¥o. wlte® wie aid of obpm Ife ton eraw ed fx0
edt ag 9d Fx0 feet. edd mort facet ib doom 8c ete ebolreq
." terre a edt mott taerettih ere cettal
ae setaden ta edit0 abox tedd Oise ae ayes #1
te tobto aid oe obsni atat-set to eosotg kho~ysxio ‘Unto *
aint steomtvorg yeon on ‘ot neat petadixters Bie tmote%
~ prtt 2 to" ‘eae ets qodt “wow @ote0e 08 ete “tent vw et
“ tiw aaitaos nword datbber £ ai beaaty bas ‘cb deitate
aot to qo-exast ‘edt pas Irbtod oie setogs wolfey emog -
us Pate: -tohitnesd ors eet

. d ike
h i: ay

VI--11

It also says the Oribeyaki were made to the order
of Koda Oribe. They are made of the same kind of clay
and glaze as the previous ones. ‘Some pieces with ears
are often in queer shape. The Nanumi-Oribe are made
of a light yellow clay, usually very light in the make-up.
The tea-jars are not so very rare, but they are very ex-
pensive. |

They are soft in quality and light of weight. Some

pieces have slight suggestions @f silver or gold, while

&

some are entirely black. Some have their sides a little
dented in with finger-tips. Those that belong to the six-

ty-six piece set are made in the Seto style and are very beau-
tiful. They have a T shape mark on them( 7° ).
Koda Oribe Shigekatsu, sometimes called Insai, and
Seso in his days, served Hideyoshi as his tea-master.
He is the author of the Chajutsu Hyakkajo(One Hundred
Rules of Tea-ceremony.) He died on July eleventh of
the first year of Genna(1615) at KobatsySettsu. He
was the most conspicuous of the seven tea-masters of
ihe, "San “faidiycl ae keen Ghee poles soe.
y.(By Kokon Chajin Keifu). The To-setsu,says:
"Koda Oribe had some black bowls of Roso copied in Owari,
and made some children decorate them. This is why one
can not make out anything of those paintings...."
The tea-jar of Fig. 8 is a Narumiyaki, commonly
called Narumi-Oribe. It is a wheel-made niece, but its
side was dented in at olaces with fingers. It is made

of a clay of the earthenware color with a greyish tint,

Eine t¥

tebto edt oF ehun ster ixayedt1o ext eyee oele tI
yelo to bait ema edt to shat ote yedT ed P10 eieX to
eiae dtiw eecetg omol .aeno guotverg eft #2 esas bas
ehan 9% wap ~imume ed? | segede teesp al netio ets
.qi~edam ot si Plait yiev vlfesen ,yelo wolisy tdalil 2 to

~XS YXSv ets yout tad. ,eret yiev of tot ets eial-set edT

-ovianeq:

emoc. .Jna > tdgifl Sae ysiteup al ttea ets yedT
efidw ,5for to revlig W® enolicesase tdgila evant. aeooltyg
eltet 2 eeble twtredt ¢ved emot - .toeld Yletivme ste amos
-xie edt of snolfed taerit esol! seqit-tesnit dAgvinw ap bedmeh

-Tsed Yiev sts fas salvia ote sii ni sbem ove tex siete xie-q
( \ medi mo trem eqeda t 2 oved yeaT fotit
Bee leeal beifso semivemoa. ,watategide edito ebhox
-teteum- ast Bid @e Edeaoyehin Bbevrea,esyeh eid a O2e
Boxhrut and /otetiteyg wi watiri edd eft to roitue odd ot: off
to dtmeyefe yvia> ae beth: ol ( ,quors199-20T to aelni -
eH | wadtetaatadoX ts tacar) ) BOE) to teoy vexit edt
To Bretesm-g9) mevos edt xo acouolqangp Pecrgr et eter
ctw | af
sayee,.veteoa-ot edt: .titiek aE best® OOK, a) -Ylimat wot odd
eb tawd ‘at beiqoe debe to ealwad toate ewoe. bed edix0 shox”
ego yiwat eta. seco etexooeh mex {isto emon ebsar bas
"14. egntiniag eeods %o “gnidd yo tivo. exam ton aso
x ffommon- . tile yiarite” g Ge .8 -3i4 to tal-ged eft
“gti tud ,sseig obem- Leos & ie $2 | s@G120- laura! beliso
ebait el $I. eregntt itiw eess.y ta ai betaeb eaw ehta

,¢utd deiyets ~@ ttle ~oLo0 etanceities edt, to yalo 2 to

“ye

VI--12

soft and fine-srained. The underglaze is dark brown

and the overglaze is lustrous black, rather thickly laid.
The inside and the bottom are bare of glazing. It is
light in weight and measures 22 momme( a little less
than 1/5 16.3 It is one of the iL eeTTi PR lptee se: and
has the T shape mark. It is a very beautiful specimen
and locks about two hundred and eighty or ninety years
old. The inscription of the box was written by Sada-
masa Katagiri and reads"Round tea-jar of Oribe".

Katagiri. Iwaminokami Sadamasa, formerly Sadatoshi,
otherwise called No-kai-an or Fuhyo-ken, studied the tea-
ceremony under i at pce Sadaharu, but later his style
was called the Sekishu School(School of Iwaminokami).

He died in November of the first year of Yenpo(1673).
(ap Kowa Chajin-Xeifu). |

The wheel-made tea-jar of Fig. 9 is another Narumi-
Oribe. The uneven surface was caused by pushing in with
finger-tips. It issmade of a greyish brown clay, hard
and fine-grained. The glazing is of.very dark brown ex-.
cept on one side where it reveals a yellowish tone. It is
about two hundred years o1d and is a very beautiful piece.
There is a big mark on the bottom. 7

The tea-bowl shown in Fig. 10 is another Narumi,
commonly called "kuro-Oribe"($lack Oribe). It was chiefly
made with a wheel, but a spatula and finger-tips were also
brought into use to give it that uneven but charming shape,

by shaving off or pushing in the clay.

Send ee Gas:

nword feb et easlarebas ont bonters-enit-bae ttoe
»biel tisolds redier ,toald evottanl ei essigrevoe edt bas
ai iT -anisala $6 sted etn mottod edd bas ebient out :
gest efteer é Ventre Ks eetiesem btiie tigtow ne tiait
bhe ,aenaty ‘eines edt fo exo alot. Gar a\e nent
nemtooqs [stitveed yxev 8 et ¢I .xtxem eqade T eit aed
alseey utentn to ydatos fae Bexhawd owt trode etool bas
-abae yd settixw daw xod edt to sottgliosgat edT . Bie.
| » "ed E10 to tet-aed basohebeer Bre izigateX Beat
_ideotebge ylremrot ,sagmebe® imexonimewl ixigetsX —_-
sae edt neath s Nex-oxdeT to na-fted-o8 Selfso esiwisdto
el¢ta ate etal aed isiebs2 emopawirl tebas wroueres
.(imetoninwwI to feode2)fooda? mdiatze® ont beflao eaw
“ (e0eFieaseY to tesy jatit ett to tedmevel at Bekbh eff
| 7 | , data ,twtiek-attesd waned ark
~turist xedtone ei & “att 0 tst-e0t ebam- Losdw on
atin: at ‘saidanq ‘Yd. ‘boaseo Baw. abarae movens sft edit
Brat ,yelo mvord faiis<s & ‘Yo bam st +t . aqid-regstt
>, ae word usb TI ¥. toatl. gnissta oft “sDomturg-0s!2 DRE

8 a fe senot derwol toy s ‘aleever tt ‘preitw ebie ‘ene Ae tqeo

3 <en02g fifttueed Pisbh a at fine bie awey bexbaus owt tuods

. “ymottoa” edt 10 ase sid. & “eb ated
inet ontone ak bo watt aks sweet t tiod-a0? edt

VI--15

Its clay is of the earthenware color of a greyish shade,
fine-grained but not very hard. It is heavy and weighs

88 momme( nearly 3/4 1b.) The thinly laid underglaze

is greyish light green, while the overglaze is one of biack
thickly laid, though it does not look very black owing to
the hi Gettin showing through it. There are three

round spots on the side where the overglaze was not applied.
The base is not glazed. It is.a very charming looking spec-
imen and is about two hundred and Javea ty: or eighty years
old. The shape of this piece is what we call "Shiozutsu"
(salt barrel.)

The big wheel-made jar shown in Fig. 11 is another
Narumi called Narumi-Oribe. The clay #8 of a greyish earthe
enware color, soft and fine-grained. The lustrous glaze
is of greyish light green, very Lightly coated. A second
coating of the same color runs down from the top ending in >
wavy curves toward the bottom; and some irregular brush-
marks are noticeable on it also. It looks very old and
must be at least three hundred years old. It isemarked~™,

"Do-jiro of Seto” #8 im on the bottom.

zenshoyaki.
It is usually thought that Zenshoyaki were made all at one
place, but actually the name is a general one comprising O-
yeyaki, Setayaki, Kokubuyaki, Bairinyaki, Sasagayayaki, and

ich.

Torayeshiyaki. Then, there are some old furnaces in Nango-

Ef~<+LV

,»ehbede defyera « to tofeo ovawneddte9e eft to et yelo att
edgtew Sas yvaed, er tI: sb tal yxev toa ted Sosita'an shui?
easfstehay blel yfmidt edT.- (df B\8 zlxsen Jommon es
‘Mogztd to.6nq et essiatevo ext eLidw ens tdgil deiyeta et
od gutwo Aoeld yiev Aool tom .ee0b +k dgvodt ftet vitorat
seidt ete etedT a 3 sigs oud ¢aiwore ula Lorbulea edd
peliaves tom saw énataxere eds eteliw ebia ed? no eteca Bauer -
-58¢8 pbidiaet gcinieds yrev. a si tT i feaets ton af ered sdT.
gtesy yidate. ito etaunee bre Berboaud owt tuode Br base ment.
"setssoildiea" [feo ow tadw verrrce atdt to ecdade 9dT bfo
| . ( .fetted, tise)
tedtons ei [{..9i% nt nwode tet ebem-leedw aid edt
efitise deiqers eto @4 yelo od? -.,edt10-fasret belliso tovieay
saat etort entrant -bealets-enit Aas dtos tole etewne
‘B&aoee A .beteoo yitdeif ytev.,neerg. tdgil odetyers to at
ACE anthne cot edt mort cwoh anit tofoo ilae eit to, gattaos
-fterid teivge ttl emos Brie imotted edi Sievod eevuse vaw
Site BLO Ytev etool +1. yon Le ti no ‘efdeeotton ete axtien
gus petteriat tI blo steey. hexbrnt send tasel te ed tase
amottod a sit #0 Hi at, “otaz to ontt- ot"

“ btegodiant
eno te Ile aise, o1e8w tietodanss tend tdguodt hs eee ge Fi
‘=O ante lsqmos ‘eno Lareneg et omen ont ylleutos ‘sud 6Onl4
bas bleveqegeane bieyai tte’ iteyrdstor . bleyster: tis yey

~eanak ot apoantt Bto Omda, one omedd,. oot + blag VATOT

see ae sgh hie ee ap a
et, 1

VI--14

mura also. In the tenth year of Meiji(1877, Mr. Shibata,
one of the ex-magistrates of Zensho, furnished me a book
giving the history and traditions of the Zensho ware, to-
gether with various specimens. On this last trip of
mine,1878, his books were used as the foundations of my

researches concerning the ware.

. Old Furnaces at Nango.

ke ES traditionally said among the o1d villagers that
priest Gyoki et se some pottery in Nangomura, at
Sukama, about a mile south of Ishiyama, of O-mi during
his brief stay there. Anyway there are found two or three
ol@ furnaces about there now. They are very primitive
affairs, simply being large holes run into the side of a
hill, much like tile-makers*® furnaces. Some imperfect
pieces or fragments are often found in the vicinity, which
are exactly like what is called the Gyokiyaki, and look to be
more than one thousand years old.

The wheel-made flat bowl shown in Fig. 12 was unearth-
ed in November of the fourth year of Anseif1854) by Mura-
matsu Iyomon, ex-retainer of the Zensho clan, Yamakawa Junai,
and Nishihara Seihachiro, nee very far from the old furnaces
above mentioned. It is ewactly like the so-called Gyoki-
yaki and is made of a Aa pate light blue clay, hard and fine-
grained. It is heavy and weighs 78 momme( about 2/3 1b.)

It looks more than one thousand years old.

$

df~-IV

sted ide yr WML) itpet to swe0ey dined edt al ..eete stom

wood s sm Betlainist ,cdene= to estattéisau-xe eit. to ano

~od stuw odes” ett to exoitifiatt bane’ yrotetsd ett gutvt:

to mitt teal @eidid «0 sanemiosye ebotiey datiw. tesites

yr to enolteabowet edd ee beay srew eofood ain .8T6l eatm

é
=
i

stew oft gninteonen esedoresset

,ognall ce eeosniwt 560

tet? exeges(iivy 8fo add avome fins gi lenold Hiwert..ct FT

sae pokey ssw
ed

ra
ds Ss Tucogis af Yiatiog soe ten et foewr <tooye tasita

anitsh im-O To ,ameyisel to disoa elim @ tsode .amecis®

sorta? 16 owd Soswrot eta. stedt yewgod setent yata teiatd aid
evitinixg yrev ‘eta ¢eiiT wor -etent tuods aecsnit blo

ar

Shae

a To efie eft otal met eelod satel anied ylamia ~atietts

deb eeaee eae” <So0attyt *etecemmelit efit doum. fiid

dotdw .ytintotv arity nt bawot nevto eta etosmye tt to esooltag

od ot Mool bue ,fdeyisioy® edd fellao el tadw exht tet omen ols

| blo ateey bowasodt emo matt e1om

-iimeons egw Sf .9f% at gwode fwod salt: sbam-feedw esfT

~gtoN yd {b@Afhiesaaéi to wesy APus0t sid. to Tedmeve mak ha
tanut swedemet ,sefo odenes edt to wentstsi-x9 ,momoyl sate
eocantt blo eift sett set yxev gon ,otldosdte2 etetideit ioe

~l[dtoyo Bbeflleo-oa ett eiil pitoske ef 77 sbenoitasm svods
~eoll Soe Bred: ,yelo entd tdatt daiyerts 2 te. ebem et bis iItaey
{.¢f S\$ toda )ommom 8T arlatow tne yvaed ef I .fentazs

-5Io exsey Soneroslt én0 sedt Sxom etoo.l me

VI--15

‘ Three different wares are included in the so-called Zen-

shoyaki; they are. O-yeyaki, setayaki, and Kokubuyaki.
1. O-yeyaki

Au O-yeyaki were made at O-ye-mura, Awamoto district of O-mi,
but little is known about their dgrigin. The local tradition
says the art was initiated by a Chinese potter during his so-
journ there on his way from Karatsu, Hizen, to Seto, but it does
not give any date of its origin or that of the discontinuation
of the industry. But I am inclined to think that the industry
must have been started sometime about Cho-roku(1457-1459). Any-
way, the early specimens are made of a clay much like the sifted
Shigaraki clay, only slightly coarser than the latter. The dark
brown glaze is rather coarse of feeling and resembles much a
Korean glaze. Some water-jars are narkea Onye”( ee on the bott-
om in dark brown,written with a finger, so it is Said; but they
are very rare. Later sf ae are unusually lighter in their make-
up, and look like the works of Shunkei, Seto; or probably ere
like Genju-ro's works(of Kyoto), though not so beautiful as the
works of the latter. It is not known how they got the Seto style
of glazing; hut it is»probable it was acquired through Genjuro,
as Kyoto is much nearer than Seto. ' The output was mostly in
the line of tea-jars, but very few tea-bowls were made. Some
sundry goods. must have been made also, though I have no specimens.
It was from the time of Kobori Yenshu# who had some tca-utensils

made there specially to his order, that tea-jars were glazed on

the inside also, like the Takatori ware of Chikuzen, or On@harayaki

ag--1V

-neS Belleo-ce GAt nxt Sebsfort ste. setew tnerettifb: setd? *

|

ne ee ah
. fie yrdpxoN brie ,ixeyeter ” bleyex-O, sie yedt ;idavede

txeyey-0 . of
,4%-0 To toitteath ovomswA BIsM-9y~O - te Sham 9 tow penned §

noitihert L[sool- eiT Otaisa tieat trode swore ek eftttl dud

-o8 eld ae xettoa seentid s yd bedaivingi asw die edd ayse
geohb ti tsd ,otee' of mesit vedsre® mort yew aig no etedt srsot
aoltusnttaooath eft to tadst to atgizo ati te etsb Yow evis ton
yiterbot oft bedi Snbtt ad Bentfont me T ted uyrtesiat eit to

~ YotA -(@AL-TAbL)anlor-on0 tyvodse emttemoe Betitets need svad ie
hetitie.eds exit doum yelo a to ebam ots eremioeqs wixad at? «URW
adtab ed? .xetvel edt aedt teateco qlidsifa yino wate tietegise
a dom aofdmecet base gutfeet to seetsoo tedtat at esata nword
~ttod eit me ety } “spQ dextran: ¢ ets .2teh- totew anog .e8elg nee ton
yout? buds \btae af tt of ,tegait.«. diiw neti ixw, mword eae at mo
~otsm tied: of eesdgtl eltabesas Sis ive tefeal .Stet YIsv ets
‘Stew yIdedortg to ,0708 ,fedasdt To astow) od? exif Aool baa ,oN
edd ae [wtitieesd og ton darodt Coteus to)edtiow e'ot-vimed exit
elyite otez att toa weds: wot mwonk ton et <? stetiel ett Te axiow
Out aed tigsoxdd beticpos gaw di eldadorqet tt tu j;gniselg to
at elton gaw toatvo edt: ,0F MS waes totes stowin at otoya ga
emg’ . 9ben exow alwod-ast wet yrev tud atu wod to entl edt
-enemioogea. on sve mS dguont ,00l6 ee seed evan a. aboog qrbae
eftanstt-2ed anoa. fad odw QudeneY fiodo% to eitit edt mort aow oT

mo bessig otew eteb-eot tedd .,.wohto afi os qilafoeqe arent Shea

Pisyetsed@n0 to ,meaueidd to etew itotexel ect exif ,oals ebtent edt -

oh alia a th: eget ee

VI--16

of Tanbe. From this time on, meny tea-jars were being

made there. Honnami: Ke-yetsu had some beautiful pieces
| made there also to his order. The wares of this period
are made of a reddish clay of a greyish tint, or greyish
light yellow clay ) though some are made of a greyish light
ereen clay, or even of a white one. Whatever the color
is, the clay is all carefully sifted and fine-grained.
Usually they are light of weight and soft in quality.
But some white pieces are fairly hard and heavy. The
glazing which is usually very lightly laid, is of var-
ious colors, such as dark, black, yellowish brown, white,
light green, et cetera, but very rarely rented. The
then reigning lord of Zensho, Ishikawa Tonomonokami Tada-
fusa used to make present of some nice pieces to the lords
of Sroutan provinces. But he was none too rich, so the sto-
ry says, to carry on this industry, the best products of
which were to be given away among his colleagues, and de-
cided to close the factory sometime about Kyo-ho period
(1716-1735). When I was to the village on this last trip
(October eighth, 1878), I was told that there were some
old furnaces there up to eight or nine years ago, in a lot
of land belonging to one Murata Toshimatsu. But there
stand only a few trees now on the grounds.

O-ye-mura is a village next to Setamura, toward

its north.

The water-jar of Fig. 12 is a specimen of O-ye-

yaki. It is a wheel-made piece of a greyish clay,

Ql--IV -

gited 6tew Oeat-cnt VG 00 -ou ts idt mont edna? to
sonst Lit itieod. sage Bk st Katey eM Ensotod sorted? eben
hotyeq’ etAy.to eetay eat stebty aid of oale eredt sbem
deiyets to tani? daivenri ‘ets yefo dethbex « To ebem ots
ddast deatyers & To eben ete emoe dguoxt ye ro wolfsy tint
solood edt devstant one etidw ese To neve to ,;yelo meetg
bentets-emit fae bet Tie vyiintetss ffe dt yalo att al:
iifetp ot Mow bas’ tigtew to tdgtl ets yedt YLleval
eit -¢veed. bose btad yYitial ote weds etidw emoe tet
»Sav-to eb , Stet erodwat Yiov Vilever ef dAetdw gaimets
otidw-/nword detroffey ,dosid steb es dome ,atofoo erot
Fr it .
ed? ,weunevanet? yleret yrov tud ,etetes to ,neets vigil
~sbat ImetonononoT gwaktital -,orere® to prot gaiagher redt
abtol ett of eooety spin emae to Virosetq sism ot Beas aant
~ote eft op \.doft oot enon ‘auw en ox '*,aeont vorr wertdd te
to etoubota feed adit yerteubat eit ao yr1eo of ,8U8G' Us
~eb Soe ,sevaeelios aint yaods yawa nevig-ed ot otrow so Liw
| fotvteq oi-owl Prods enbteanos yrotost edt eeolo ov bebio
qiut feel etd no egeiliv edf of wew I nedW s(Bevg-arve)
euon etow erent tvatd plot eew t.,(8S8L (itdgie xedoto0)
ef es ak Cae etwey entn +O doigie of ay etedd do camer Blo
ated? tue SereuiteolT eters ano: ot Sxtaiored bret to
,ebanong oft mo won gest? wet & elo: bret a
brewed etd ae of teen egciliv » el stim-sy-O
: <At10n aft
~oy~0 to memtosqe « af 8S .g£% te tat-tetew ant

welo selyexg is. to poeta ebam- Leet 6 ai th. «fdey

VE307

fine grained and fairly hard. It is quite heavy
and weighs 445 momme(nearly 3 3/4 lbs.) © The un-
derglaze is dull brown and lustreless, but the
overglaze is a darker brown and is somewhat lus-
trous. There is a big mark on the bottom read-
ing O-ye, said to benwritten withna finger. It
is only about three years old.

The wheel-made tea-jar of Fig. 4 is another
O-ye-yaki, made of a hard end fine-grained clay
of dark brown color. It weighs 32 momme( a little
over 1/4 1lb.), rather heavy for the size. The un-
derglaze is brown and not very lustrous, but the
thinly laid overglaze is chestnut brown and trans-
we Then pont black and dark brown glazes are
run over them in streaks. Both the latter glazes
are lustrous , but only the brown one is trans re
In its make-up ,it is much like one of the so-called
Yenshu-konomi wares(made to order: of Yenshu). It
must be about two hundred and fifty years old. The
inscription on the box reads "Tamadare” and was writ-
ten by So-ko Chaya.

So-ko Nakajima or Chaya, otherwise called Cho-ro-
wa is said to have been a puril of Hosokawa Tadsoki
in tea-ceremony. Some say he was under Kobori Yen-

(
shu. (By, Kokon Chajin-keifu. )

ae Setayaki.

Setayeki was made at Setamura, Awamoto district, O-mi,

Via~IV- | ae RA

Tyeen etinp ef tT. «bred Yitxist bus bikers ent?
~oo ed? (,adf 5\8 © yltsom)emmom ab Gita haw Sire
eft tad ,aselettentl baa mwoxw «fied et duataxed
-asf tedwomoe at bas aword tetxb 2 af sselgtoevo ..
~hset mottod edt so trem gid .o as erat . anor
wT wsegnit 6 iddbe nottinwmed oF bisa 18G-0 ark i.
«bf ansoy esidd tuode ying ak.

tediong et + ait to -sat-~eet ebam-laedw eT
<A th bectecateenee bos bted « To abet etilsy~ey-9
| elitil s }onmom S8 edgiow ¢1. «10[69. mwoid ated to
~oy ofT . ,eatea edt.2rol.qveed tedster (.8E a\f eve
eit fund .,esottanl yrevy tog Lrg mawoitd at exe lgreb
-eneit bas oword dumteeto at exafgrevo bial glaidt

ahd wl
918 gesala nwoxd ated bos dosid omoa cedT .ésatag

assels teottal edt xftod ~edsexte al medt xevo ort -.

Ear en at eno awoid oft ylao dad, asottanl ots
Defleo-oa eds To emo omit done ek ti, qu-oxam att. el
#I. .{(udaneY to tebxo of ohem)esten imonox-sdaney
edT. bio emey Yetit bas hetbasd owt tuode ed tem.
-tinxw eaw bos “orebemst”. abget nod ent mo mottgttoast.
: i ee cee oxu-o8. yd mot

-o%-o09 .beliao. eatwredto eyedd 19 auttetel od-08 |
itosbal swaxionol to Ligsiy & need eved ot bisa el ‘
~neY brodox tebas gow of yee, omoe. ewnogsinnante mt
(.-utted~ at badd noxoH Ed a tree,

Oa ane ‘sbiststee |
jtm-O torrt]fs ‘ptomawA pennnes te: oben ‘Baw idectagion

VI--18

but it is not known when it was started, except that it
is of a later period than the O-ye-yaki. The Hisashige-
nikki wraittda alrtie Lireti year oe Kwanyei(1624) mentions
about a water-jar of Setayaki, and so it is evident that it
was being made prior to this. This Seta village is so near
O-yemura, that there is little difference between the pro-
ducts of the two villages, and naturally they both went under
the general name of Zenshoyaki, and were seldom disting-
elon from each other. But the Setayaki is a trifle thick-
er and clumsier than the O-yemura ware. tay glaze, too, is
less lustrous but much coarser than that of the O-yeyaki.
The only thing that is known about its history is that the
manufacturer: of the Kwanyei period(1624-1643), was Seizae-
mon, i was very fortunate to be able to get three tea-
jars it tale which had been kept as heirlooms in the
family of Ishikawa, the lord of Seta of that period. They
are marked "Setayaki" on the boxes, and they really look
to be the things of Tadafusa'’s period. It is said,like
the Oye furnace, this factory at Seta was given uv sometime
after Kwanyei, probably in the Kyo-ho period(1718-1736).
The wheel -made tea-jar shown in Fig. 15 is a spec-

men of the Setayaki, which was treasured in the Ish-

ewe family, lord of Zensho, with the other pieces

shown’ in Pigs. 16 and.17. | It is°mede of a browne

Glay, sandy, not very fine-grained, but hard. It

weighs 30 momme, rather heavy for the size. The

thin underglaze is of lustrous brown, but the over-

“€L£--IV

ti teat Iqeoxe ,betiate oauw Si medw demos som ef dh dud
-egidasetH od? ..tdey~8y-0 edt madd belteqg setel ato et
acoltnem (S83) Leynawt: to xsex totit edt Pr setsixe ,tdaia
dt tedt #asbive et tt oa bas tdeyetee To xsef<1elsew a tgods
rsen o2@ #i egsiiav siea sidt said? of sober sham gnted eae
-~our oft seoewted sonertettihb eftter et event ted? ,stsmey-0
tebas inew died yedsd yileteten bag ,aegeiity owt esd to etoud
~griteth mobiles exew bas ,ideyodanes to sasm Tateties edt
~Stoidd eftirt « at Liagedat ent tr .redio doses mort hadie tee
al ,oot sala vatl ©. stew etumey-0 off ted? tefemsio Dme te
ilezoy=0 edt.to sedt medt teateco doesn td avoctenitveael
edt ted? ef yroteid- et tuode owoodtel cad?d gatdt eine ait
4 agEter eaw ,{8Adf-b8dL )Hotted kacmaat edt ciatetaninaee
-set enude tex of she oid ot etanctteot vrev eaw, dT. )nom
edd mi emooitied ea: tqed need bed dotdw jebbvinell te ae
yed?. ybotreq tedt to wte® to aol edd jawexXidelvto yLimst
dool ylisex gout bre, sexod end ino "ivegetee". Bex cad ets
exil.bies: ei tl. o“betteq eiesittebat to sguitdd-edt'-ed ot
emitomon qx mevig Baw Btee te qrotoet eLeds ,ooerrst eyo sav
(e808 I° LD bobreq: od-oyk oot. at “idadorg vieyaswi tette
~oene 6 Bf Of .giT at awode tet-s6t ebsm-leedw eAts «: |

«fal edt ni bersagert gew Moin ,bMeyatet: odd te Mont

genet teddtto edd diiw ,odenod to brof <hinats omet

Asaword # > ebpt at $19.90 hme 51 sagt ab awoste

$i. .btad tod bonteta-ontt yrev ton -thase velo

eit ,eaia edt to? yveed todtes ,Smuteat OF adgiew

= eyo edt tnd (awotd exortansl to al esalgrebas atid

VI--19

glaze is a little darker,with \the light blue streaks
running down, ending in light brown. All these glazes
are very thinly laid, and are trans ‘wads they
tend te the glucose color. It is not glazed in the
inside. It seems to be about two hundred and sixty

or seventy years old. The Inscription on the box

reads " Setayaki tea-jar, one of Eight".

The wheel-made tea-jar of Fig. 16 is of the earth-
enware color with a greyish tint. It is rather coarse-
grained, hard and heavy, and weighs 45 momme. The
underglaze is dark brown and the overglaze is of a
little deeper shade, lustrous and mottled like a
idee Samet The coating is very thin and extends
to the inside also. It has some streaks of a trans-
Masood glaze of deep brown running down with a mass-
ye effect and tending Fide to black along the
edges. It is of the same period as the preceding
one, and was in the Ishikawa family.

The tea-jar of Fig. 17 is another wheel-made
Setayaki, belonging to the same period as the pre-
vious twe. But its clay is of much finer grain
than that of the preceding ones, and very hard.

It is medium in weight,and weighs 18 momme( a tri-
fle less than 1/6 1b.) The eolor of the clay is
about the same as the preceding one, except that it
has a slightly greenish tint. The thin under-slaze

is reddish brown, and not very lustrous, but the

mae eS 2 as Shee i

exsextea enid bint b dabeitdion Matekik «tebkt s atvsselg
eeselg oad} [fA .svowd doigil nb gmtiao .nwob gatontrs
tod: orenw, 2a0bencn st eng bite ,htel yviatde none ete
edt at hosel tom el dt]. (stolos-evoqniy edd of bret
yixie bas betbasd owk trode od as awece $f... eblent
xod edi. no moliqiyoeal edt .bfo avasy ytreveea to

| "ia la to eno. ;tab-set ‘tds yeted " eheay

~itites edt to al 8f «Rake to tet-2ert Kthats-slaace esiT

-~eateod tedteat eit tI -stnit detvers 2 dtiw xofoo etewne
eiT.. .emmonr dd atgtew boe yveen base bred ,beniexs

a to et exelgtevo od} bas mwoxd Stab ai exalstedbay

8 ott © pbolttom fine avorienl ,eiede xaqesh eLITir
ehootxe fre mid? ytev ef aaitaos, eff ailetaoesing
-eneti.« to exteerta: amoe aad. -oele eblant eft of.-
-geam g diiw owvosh cecuienre deena geoh te evetu feet
eit gnols dos to ot teomla: artibirst Se dette oN

as Laaesicen eid ase bobsag empe eft to ak v2 saogbs

vu timet-ewailidel edt-ni esw fre, ono

ebsa-Loodw sedternes ai SL .9f% ‘ho teh-set eT

eee edd eae botreq emcee ent ot sitmnndad,| dated et
attests xonit lomr to ef yelo ati dy wewd atoiv

| bred Trev bas ,eeno, griheoe ty edt to ted? aedt.
-iud se jemmon 6f, adgtor bax tdgtew ni mykbem eb tT
Bb yels act to. toLoor edt om eS a\L fadt gael eft
tt tadt tqeoxe eno, galbsoexq. odd. ee emae odd. tuods
exs(a-tebiv. atdt od. take dainests Ultdatie © esd
odd tod ,evottesl yrev tom bas ,awotd datibet at

Vie20

overglaze,which is also very thinly applied and
found only around the mouth and shoulder, is
darker brown and has more lustre, except where
it is mottled with light yellow spots with a

ereyish tint. The inside is not glazed at all.

5. Kokubuyaki. —
A Rebuuyaks was made at Kokubu, Shiga district, O-mi,
but nothing is known about its origin, except that it be-
longs to a little later period than the Setayaki. Any-
way it must have been originated sometime after Keicho
(1596-1614). The wares,which are mostly in the Line of
bowls, plates, jars, and tea-jars, look very much like the
Tamagode-ware of Awata. They are coated with a whitish
glaze, with chrysanthemum designs painted in black. .It
is said the furnaces, the ruins of which still exist, were
going on down to the Kyo-ho period(1716-1735). When I
was to the village on November eighth of 1878, I found
out the ruins of the furnaces were in a place called Kama-

gaya( furnace valley).

These three wares described above are called Zo-
zensho(Old Zensho), while the following three are
the modern works made in the domain of the Zensho

Lords.

Bairinyaki.

‘WBairinyaki is said to have been made at Miyamachi of

08-17

“bas betiqds vtnias viet cata et dotitw,esefgtevo
at 4ehtweds Bas taper wit vote ciate basrot®
Leni tqeoxe ,etteanst etom aac Bis word rsiteb
3s dtiw ateoqe wolley sdgit dtiw betvion ai vs
.ff2 ts bessls ton ef ariaht ad? = gtatt telyars

ist _ bileyoeantol ee

,im-C totstald agide «ud atod: te obsm, sew seidaadoe I

od df tedt tqeoxe Higite ati twode swood at guidtos. trd

~ yok »faayetod odd Aett botteq tetal eltiil sof agnol

ofotes tetits esi emog betentgize naed even tans. of Yaw

to exif edt mi uiteom exe coidw,esrew off ., .(aras-aear)
eft axif storie yrev dool ,aneb-set hos. ,exteal ,setetq.,alwod~

daitidw s dtiw Betgoo ers yotT .stawh to etawvehogsmal

tI.....~<dosl¢ nt betnieg ureines comedd asa tule ast iw eal

etow Te lxe {i tte do tdw tas silos ent RO0RHTUS oad Lisa al

I sed¥ «(GEVL-al°L )botteq On -oys eds od mwob ao gatos

bavet I »BveL ‘to didate tedaevel no, age Liv edt of esw

~ sm aH befleo soalgq s.a5 eiew accents edt to. eis, edd tz10

I yeltey eosin laves,

~oX beflso.ers evode bediteash eotuw eetdt,eaedT
ete eotdt antwo (lot edt efidw. ,lodame® b£0)odemes
ofémel oft to mtamobh eft ni ebem extow mrebom edt

~btol

altaya tat |
to idoaneytl te ebam food eved of Blea ef iantadstest

a

VI--21

Beppomura, on the southern end of Zensho, just during the
short period from Kyowa(1801-1803) to Bunkwa(1804-1817).
The chief output was in the line of shakers, bowls, tea-
bowls, tea-jars, stands for kettle-covers, flower-vases,
and plates. The glazing used resembled very much that
of the Cochinware, and was of green, yellow, or violet,
of ailustrous nature, usually very beautifully graded.
It is said the clay was gotten from a hill called Yak-
ushiyama, in the same village. Some pieces have stamp-
ed designs. All are marked."Bairin",
The beautiful wheel-made tea-bowl shown in ie.

20 is a Bairinyaki, and looks to be about sighty

years old. The clay is of the earthenware color

with a tint of grey, hard, fine-grained,and heavy.

It wieghs 58 momme(about 1/2 1b.) The glazing

which extends even to the foot, is of greenish

esrey, except around the top, where it is beauti-

ful viohet with .a greyish tint. The inside is

finished in a lustrous beautiful green glaze.

The whole coating is very thinly laid, and has

fine crackles. The stamp "Bairin” is found on

the bottom.

Sasagaya-yaki.
The factory of Sasagaya-yaki was started et the instanee
of the lerd of the province, in the second year of Kei-o

(1866) at Sasagaya, one third of a mile west of Awazu, a

seer

edt gaiiuh gant ,odanst to hae rieninoe ait £0 amonaed
(TL8L~S08L lewwaud of (S0@L-LOCLlewoyd mort hotreq trode
get ,alwod STEAKS Te soit edt oi sew tuqtuo Yefdo edT
,29asv-rtewolt ,atevoo-slited tot shasta ,atel-sot &ilwod.
tad? doum Ytev Beldmeget Sean gxiselg sdf aeteta Bags
,teloiv xo ,wollsy 19eTs To. 2aw bas ,etevntdesd edt te
»bebsts elit dieed yrsy Ve taves eo titten sia tata to
~asY belfeo [find s mort netiog asw yelo odd Bise “at $I |
-qtiste eved asosia smoot ,euealliv emee edt at ,emeyiden.
» "Atak read” exten ots LTA arg lash hss
igi? xt awode [wod-set ebam-Leedw [nti¢csed edT
wigis tuods ed ot edoof bas ;bleyattiet s ef 08
sofoo stswied?rae 6d to ‘et yeio sii DLO e168
-tvsed bike ‘tetipek data (wera to éatd Ss ddtw
aatsalg oft {,dr°S\f teoda lemon 38 adgetw ¢T
deiwelta to ak ,téot edf of nevé gbmetxe-doldw
-iteged ni ti evede’ qot sit Bavores tgeore vets
ai eblant efT | .tnutt delves « d¥tw deléty rut
pats neerg Iotitseod avortast & fi Bedetnit
‘pet Boe ,btef ylntat yxev at gnitsos sloiw est
mo Basrot al "ntthed® qmste eff -aefsosto enit

saodtod edt

. slays yageds? :
eeretent ad} te hbetista esw bley-ayagesst, te viatont ont
e-fet to teey brooes ent art Somtvoag ot + Bece f esd te
a ,u8ewh to teew elim eto buidd eno eysgeag? te (306L)-
| . a ge Res ae

VI--22

suburban village of Zensho, at the instance of the ex-
lord of the place. But in the second year of Meiji
(1869), the factory went into the hands of ne Inouye
Kiyomon, of Zehsho. The clay used is a mixture of
two different kinds that come from Sasagaya(90 %) and
Yakushiyama(10%). The material for the glazing comes
from Shigarakidani, Ko-ga district of the same province,
and is used mixed with dregs of certain dyes. The fur-
nace is of the Kyoto style in its construction, made of
eleven sections. The chief outout is in the line of the
sundries made in the style of a Kycto ware, though much
coarser than the latter. Some are marked "Do-yetsu of
sasayama™. It is said the materials were first tested
at Shigaraki, before the factory was started there.
The roughly made but oddt¥ looking jar shown

in Fig. 21 is a wheel-made Sasagaya ware. It

is made of & greyish, light brown clay hard,

fine-grained and heavy. It weighs 168 momme

( a little over 11/3 lbs.}.. The underglaze is

iieeoene brown, but the overglaze is of a dark-

er brown,more ween ae laid and full of bird's eye

spotsy over which another whitish glaze with bluish

and greyish spots is heavily laid. The inside

ia also glazed. This piece must have had several

holes on the ground before it was elazea,| as one

Gan see them through the crans eee glazing from

the inside. It was made only three years ago and

if

sg--t¥""

-x6 eit to benudant ond Ta orfenes ke euatete fad tide
EtteM to 4s68¢ brooee edt ai sue ~ .esela ext to Brot
syonl eat to ebmed edd otak toow yrotost edt ,feaar)
to etrdxim s af bead velo oat ~ ,ofedes to hts

bas (2 OC eyegecse moxt enoo tadt pbakd ¢asietvtib owt
gemoo gntsels eft tot Lstretem od? (20 Yams vitenley
.eonivorg einse edit -to toiztath ga. ok ittebivetesid® mort
ye edT ~829vb thoes os saekh itiw bexim Bboes ef bas
to ehem ,mottovtriemon ett of efyte otoyt edt to at’ eosn
att to. ent! oie eh ai do ts0 teide ont sancitoes nevele
doin dusodt ,etaw otdve s to eiqte eds ai sha aelxhane
to setey-00" bowtem site ease <tettel odd nedt L9BIB99
beteet tetit stew eteiretam odd bise el +r -"sneyseed
todd betista 82W yrot ost oft excoted -iaisteatde te

nawote tet obidaaierae sShbo oo ebem yildgrox on”

tI .etew syegsasd eheuw-foadw w ef £8 BIT at
Stead tare gHots SHALL ekyera w Yo piuie he

- @aunton: aar afatew #1 Seed fica bontsrg-eai?

et vids tage oat {edt S\I ft teve oftdit a }

~treb “e to et (s8elgtevo ent tod “gword poe

Ys é'Baid to Cont be biel’ viiveet Lom aword {9

deivld Adtw exels alas eels tentons do iit 1SVO gatogs

shient eT biel qfiveed et atogs datyets bre

ferevea Bad ered tem esei aidT ybeae la. oats BE
exc ee. bosats euw tt etoted baworts od? 0 sefod

mot anise la teeenest edt fguort went eee 10
bas 026 BTLOY, eowt? yao eben eaw Hr “sebteat oe

VI--23
has a mark reading "Sasayama", written with a nail.

Modern Setayaki.

The modern factory of Seta was established by one Ike-
da Monpei in the twelfth year of Kwansei(1800), at the
Same place where the old factory was. When I was there
on October eighth of 1878, I visited the Ikedasand was
told that the first Ikeda was only an amateur potter,
and his products were something like a Rakuyaki, very
roughly made. It was not until the time of the second
Ikeda, who had hired an expert from Kyoto, that some-
thing really wer tik whi be was produced. The present Ike-
da is the third of generation. The clay, I-was told,
comes from Aoyeyama of Shinryomura, while the material for
the glazing is a mixture of a clay gotten from Kinose of
Shigaraki( 30%), a trace of the clay coming from Kokubu of
Shiga district, and seventy percent of: dyer's dregs.
Only three men were at work when I was there. The pro-
ducts are in the line of the sundries made in the style
of a Kyoto ware, but much coarser in their make-up.

The beautiful little saucer of Fig. 18 is a spec-
imen of the modern Setayaki. It is made of a clay

of the earthenware color, with a greyish tint, fine-

grained and hard. It weighs 12 momme(1/10 1».),

rather medium weight. The glazing is of lustrous

grey of medium thickness, but the pattern is paint-

ed in a whitish glaze. It is in the shape of a

&8--1V eS peda
lien o ftiw gettinw ,"smeyease" gnibser ates « asi

~ineyatee nrebolt |
~eil eno yo bedaildetes Baw ate? to yrodest aredom eft
edt te’ ,(O008L)tesnew® to tee y attrowd ext ai‘ Leqnot 2h
etenid whe I net bal teobant bio efit stedw soslg SMBB
eaw Bie zebexI oft betiety I ever to tigate xadotoo to.
-tettog treteme ne Yino ake. ebexl tart? ede tadd Brot
qwror, itevuied s evtit gn ind emos eTew. atosbor ald Bae .
bhacdes odd To- emits eh? [iter tom aw TT oy yidaror
‘+écr0e tedt ,ofogd mort pibida baat Beeie Sed odw Shedl -
-extl taesee rq. eAT beombotq caw efitsw dvtow yifeet anidt
lot saw Il ,yalo ett woltseréires to bide edt gi sb
tot Lis ttetsnt add elidw {etameyrarie 4b aneeek mort semop
to saoni® mort rettog Yello eto exetaio &' aE gntfisals eft
to udux0X mort gatos yeto oat to eoat? & (ROS) tisteg ise
.@2e7b a'xeyh ite tested: wtnevee Sas ,toLttelbh agidé
-otg edt »! ,etedt 2ew I nedw row ta etew men sordt yind
siyte edd at sham sebtbase ent To eit ent tek ete etosd
+ exten ‘tiens wt Teetsoo Mos “$08 . STS otoyy # to
-oeqe ae et Bf ‘att to Ts9NHe oLeste iutitised edt |
yelo ‘gto sham at +t ij teaeaded srrebomn oat te rent
-onit (tate debe rs 8 adiw ,roLloo erawnedt18e oid to 3
at Or\ Leno Sf atgtsw tl brad bas bonierg
enonteir to af gritats ox? tia tox haiachall redder
~tateq at ‘ wkehas oat td” ,eeentolds nthe +9 “yet
ge to etede edt: wi etett « cOcirea ie be tain a" tt bs

VI--24

shell-fish called "shijimi", for which Seta is rather
noted. It is about forty years old and has a stamp
reading "Monpei-zan".

The haisen(a bowl in which wine-cuns are served
floating in the water) is another specimen of the,
modern Seta, ee made of a clay of the earthen
ware color, hard and me dium grained. It weighs
101 momme(about 5/6 1b.) The coating is of pale
blue of medium thickness, which runs down on the
inside and ends in wavy curves about the bottom.

The painting is in bluish black. It looks like
a gheouita Dee The stamp on the bottom reads
"Monpei, a potter east of the Seta-bridge, of Go-

shu". It was made only three years ago.

The Modern Zenshoyaki.
Some forty years ago, a Kyoto potter, Torakichi by name,

was nn hte ;
Based Fé take some. beautiful pottery at Hachidai-ryu-o, of

Zensho, which was popularly called "Sese-Tora”™; butoit was
not very long before he gave up the industry. Some of his
works are marked "Sese~-Tora” in brown.
The beautiful wheel-made pitcher shown in Fig.

23 is a specimen of his works. It is made of a

clay of the greyish ear chesners color, fine-grain-

ed but not very hard. The coating is ef a grey:

ish light green glaze of a lustrous sort, thinly

laid. The inside is also glazed. The whote

surface is beautifully covered with parallels

aa ee

<odter et sto dotde tot miett te" Betteo ‘ait troae
qnete s eed bne bio aresy vitor trode eb ar: sbeton:
aaa teano” anebaak |

Beviee ote adwo-eniw Aotdw: me: Dwod @)neated eat wa
ent to: nemkoete tentorns - ak. (totew ite st aniteort at
duo ttxae’ edd to yal? s to" shan ai° bast ater ntebon o.
ada iow + | sbontaxg en bS.or Bae Bradt teltos: eter” !
giaa to ei gatieos edt” tid é8\s tvodg) omvoin atne:
edt no mwob ear doinw ‘yeasengeras ote EB om to ROT
suotied edt bused eevine Yvew ot aba cies ie,
exif eaveolr ¢Y i. wtosid detubd ah ar autinisa eg:
ebeot matted. ont 0’ amete bes ie ott Eee vee

‘ x . | <i eet ssohom oa

J}
‘pie

emai. vd idoistexo? ‘teroq odomt 2 038 ater ene

ae A;

to On mryin tab irloel te etter, Ititnaed emoa
Sew: th tad p"s10?-oeen" b obs

eo poe i

and ia ono erat ont

VI--25

of fine lines. It is about forty years old, and

is marked "Sese-Tora”™ on the bottom.
Nagargyama-yaki.

dlagaragna-yaki was being made about Kayei(1848-1853)
on a hill near Miidera of O-tsu, O-mi. It was marked
with a stamp , reading "Nagarayama". It is said
Yeiraku Hozen made some of his works there.
“The mould-made bowl of Fig. 22 is a specimen
of the Nagarayama-yaki. It seems to be made ofa
kaolin, of greyish white, hard, and fine-grained.
The weight is about medium, measuring 65 momme
( a trifle over 1/2 1b.) Its white glazing is
lustrous, but the darker glaze is rusty and dull.

Both are used very thinly. The inside is also

—*

+
coated. The stamp on the bottom % ) reads "Nag-
b
arayama™. This is a copy of an Oribe-konomi-
ware made to the order of Oribe, and so it looks
Cc y

rather coarse, but handsome.

Kosobeyaki.

Gixosoveyaki is made at Kosobemura, of Shimagami dis-
trict, Settsu: It is said the earliest wares were being
made from before Kwanyei(1624-1643), but not a trace of
an old furnace has been found yet, so I was told when I
was there, on September twentieth, 1878. The founder
of the modern Kasobe was called Shirobei-Shinbei Igara-

shi. It was about one hundred years ago that he estab-

bre ,blo eteey yitot tuods af {1 seemit ontt 2 to

saotiod ode nO “aroT-e8e8" bextrant ak oo

tet amepetega

. (Sd8l-~8s6()ieyex tuode ebsi sated sew one aE ee
Sextan eaw tI: 1. «ditt O este to etebhiim Tsen fit & 0
bise et tI. ."sueystagell" atibsex mCi quis Fe a dd iw
,otedd extow eid Yo earoe ebem wet i reste
gen toegs gB at #8 «ait to fwod ebam-bine om edt
ato ebsm sd of amses TI _bley- omeyeragel edt to
| benisrg-ealt fad ,btsd , ot idw detyerg, to asitons £ oe
Smmnom $0 gal itesem ecard bem tyode al tdigter edt : ie
at galsats. erie edt bi di aM. zeve eftiat i ae
~lfgb fans yreutr af exsagla texted edt a0. jevontest |
oats at sie ont Uinidd yrev heas Ss
3am" ebust (4 )noitred oat: “0 qusta ed -beis00 %
2 Emonxox- ed tx0 te To woo a et. abd? Meneterts
efool tr Oe fats edi29 to Tobro odd OF bun sow

ssuoebixed an 1827300

ai

me : be ‘ae oo _Biavedonor

to soaxt A. tom. td stenatensonnn |

wosnuat. ont . B80 ;
Eeee Lodnbst- bed

VI--26

lished- the ee furnace there,built in the Kyoto style,
and began to make some tea-pots also of the style of a
Kyoto ware, or sometimes of the Rakuyaki style, though
of a coarser make-up. He used 6 get his materials
from Nishinomagami and Jigwanjimura. The glaze was
usually black, red,ob yellow. He used a stamp
reading "Ko-so-be, written by Enpin, a Kaga priest,
who used to live near there. This first Igarashi
died fifty-two years ago, at the age of eighty.

The second Igarashi was called Shinzo-Shinbei,
and used to make copies of the Takatori, Karatsu, Korean
or Nanban. His stamp @ also reads"Ko-so-be". He
was a pupil of Howuan rental of O-saka,inawriting the
haikai verse, ssé Ittansai Shigaraki was his non-de-
plume. He was sixty-one Pears old when he died.

The third Igarashi, who is still living, is called
Shingoro Shinbei. Thirty-one years ago,he hired a
Kyovet peetere and has been making a ware after the style
of Rokubei of Kyoto. It is a classic looking work, but
rather coarse. He uses three different stamps ee
all reading "Ko-so-be". Chafing-dishes, teaups ses SK,
bowls, plates, saucers, fire-boxes, flower-vases, pit-
chers,et cetera, are his chief products. He gets his

Qawr Ploee
clay from the sampies where his predecessors got theirs.
It is rather a sandy sort. First,it is very finely
ground and sifted; then it is stirred into water and let

alone for some time to settle down. Then the clay is

‘O8--1Y pees

izts otoyt ent tt #£ivd, ered? eoemrst wen 94d botett
8 to elvis edt Yo oa te etoq-ae% enoa ae ot neged bas
davrodt. elude tistwwieR edt. 10, noni tomes +O ,sicw otoret
afetuetex aid tea of bean ef 4st at tearsoo # to
aew ssalg oft \etomttaswatt. bas tiasamonidel? mot
| qmed a e beew of _ Wolfe Sa Bae ears eh caiee
jteetra sgek 2 ieiqae yd nettie Ned-ow-o" Skibnes
tdestagt text? eit? ,eredt wen evif of been odw
widate to e3e Sift te ,0ms Bxs8y owdaydttt beib
Sedu tae egata® belles Saw idgetagl Sno0ek ef? -

re0 10% vradarca® txotede? oft to estos efem ot heaw ae)
el ."ad-d8-08" bao oats : que +2 att .neduel xo.
ett gritinenkt, exisa~0 ‘to Laat sustot ta Uthed 8 eaw
~95-nonr aid aun idete gid? Ledhaddt pon sbetoy latied
beds on eda bio B169% eo eoake Baw eH - ountg

bellao ae BabyET Trive ak. onlw sHieoxwgl builds ont
‘g berid od 038 ateoy end hati +teduhtt otogaEde
efyta edt zotts otew & gation need Gat baw ted toq otoyn
tod atxow guttool obeaato’ ry ab 4h ote ‘to Ledaiox to.
“oh hem daorertib eer, sees, OF .. 887009 xodtex
ag ae fsdoq-ee?, (eodsib-aatted "od-oa- ox" qabbeos: iis

| te bseeaneane® ante tessa aeatoa: said

an .

Lae
ye

series? tes os

VI--27

dried and ineaded ne applied on to a wheel. When the
unbaked pieces are put inte the furnace, they are cover-
ed with certain powdered clay, which he gets from Ama-
kusa and Shigaraki, mixed with some ashes. The baking
takes about twenty-four hours. The furnace consists
of nine sections, about fifteen feet wide. Pine wood
is used for the fuel. His son is called Seibei.

Komatsuya Tasuke, otherwise called Tanen, a bric-a-
brac merchant of Tomida, in the same district, was an
amateur eeramist and made some works of his own in the
factory, after the style of some rare specimens he had
seen eo tees O-saka millionare's. They were painted
in a dark brown glaze and were very charming works.
He died last December at the age of seventy-one.

This stamp (24 is used by the third Igarashi,
Ghiefly to eke boxes for his goods.

The wheel-made.tea-bowl of Fig. 24 is a Kosobey-
aki made by Shingoro. It is made of a greyish
pink clay, medium-grained and not very hard. The
underglaze is pinkish, but the overglaze is white,
as is seen on some parts of the stamped pattern,
where it is not covered up with the dark glaze.

It was made nineteen years ago. It is coarse
looking but very handsome.

The bowl of Figs 24 is another Kosobe made by
Shingoro. It is made of a brown clay, rather

medium in hardness, and not very fine-grained.

: N8-+2Y_

ait med¥ ..Loodw a o¢ ao; beticas bas bebesat bine beith
-tevoo pia yodt pean dad wind tro 91 pepelg: besisdag
-sud mort etes ed dajate WW #lo betehweq alettos dtiw be
anitied aff -sefes. omoe atin boxia doletes kage bite earl
asaianoo, eosniwt sift .arwod treol-yigews troda..ceitsd
‘hoow ent .obiw test sesdtit thods sagltees onia te -
-lediet bsifeo ef soe’ ain .,lest edt zot beau al.
~s-olid g ,fenel Selieo saiwtedte ,eduesT sypatanot.
ig easy tobetakb emee edd af shimoT to. tnedotem cent:
edt al nwo aid to adtew emoa ebsi bas teimsre9 “ete ems
batt, ed PAPRER SEE gist emoa to efytea ent “code gxotoat
botoian ety goat 8 exandt [Lia aiea~O ouga te,.n068
sex tow Berets RrOv, otew Sos eseia mmo wf axa : ae
= OM0~Yinevea: to 838 ect .ts, redugoed taal beib ak
idesteal pidt oid. yd Beam, ot G4) « quate ale? ~
,-8ho0g aid tol sexed edt atsin ot uftexto
~vesouox 8 eb bs. «ak to. {wod-sst shas-tecdw od
Haiyets 6 10, ebam al, tI ~oLogatse ed oham, tas
ent. .bted Tisy on Dita Sonisrtg-aulbem elo aaa
| ed tite ai exelareve. exit ted. datinte al ssalarebag sti
hQméetieu, boqneda pdt 20 atrag SatOR TO. e082 al.aa
sag, zsh, ody ee qm berevoo ton ak bb sxedm,
| 98T800 ei tL. +038 BTBOY se i ca ebeit aaw tL
| ,eamebmed. ‘wey tad astatoot
yd oe _adowox vodtone ak 83 fal% to. fwod edt

“tester kalo, sword. s to eben el a. somogatdd
sae oe Jos fae ,eaenbied at aibem

VI--28

The white glaze is of a lustrous nature amd is laid
fairly heavily. The elegant design in a bluish

dark glaze was painted by Tanen, when he was seventy
years of age. It was made only four years ago, but

it is a very charming piece.
Sakuraiyaki.

q@osakuraiyaki is made at Sakurai, Shimagami district,
Settsu, the famous historical place where the pathetic
parting of the Kusunoki$% took place. On my trip there

on September twentieth 1878, I was told the first ceramist
there was a pupil of Raku Kichizaemon of Kyoto. Later, he
invited Mokubei eee and was given some more lessons

in pottery by the latter. The present manufacturer, Shin-
izu by name, is the third successor. The furnace there is
built in the style of a Kyoto furnace, and consists of eight
sections. The output is the sundry wares of the style of

a Kyoto ware, rather coarse in their maké+sup. The buff-
colored clay comes from Yanagida, Otokeshi district, Yama-
shiro, but a white mixture of the Shigaraki and Amakusa
clays is sometimes used. The famous pinetree under which
the Kusunoki parting took place is often painted on the
wares, together with a verse concerning the incident. Of
late, some porcelains are made there, the materials of which
come from the province of Hie Their pate Suey is
cobalt.

The wheel-made tea-pot of Fig. 26 is a specimen of

biel et 5a bwwton auortant s to ak ehbea oo hitwe ott.
dakold @ aE. wgteeb ‘tibgete od? stlbveed uitter
qinevea’ dal id notty tigen oe betateg asw’ enaits. ttf

dad d° 038 emE8y ro ¢ino obaa ‘eaw a+ i a +8. eisey’

eras ‘anteraade: trew B aiob

-Hactonnie,

(toFrterh tagdemtde , tebe? te eben et iaydariteals
oivedisg ent etsdw” eoaly fgdltote it avonet’ edt trattet
gael qixd Yor «0D ~~ eoata ‘Hoot w2itonsvauy: ont TC. gattrag
talusteo toxtt eft Blot: eaw i ,SYst ittetthews todmatqe? m0
of otsl « soto¢d to mowoon tdort sriet $0 Léqua 6 aew pute
. ancaaer e tom: smtoe novia eaw ‘Bas reedee fodaxow betivat
ate TeudSe tines taoderg’ out 4 tedter ‘eat vd" erettor at
“atseredt. sosmist oat “ yroseesone btids ond ae oman od ok
a dG ta Ge stetesoo, fee Soartst otoye 8 To: eit ‘oui ‘ak ating
‘to eiyte wae Yo eta’ qtbane: edd ar toattsre eat” anottoss,
~tted on? amaaatecr ‘bhed?: rie ea1s09 vedder ote otoyt se
~emaY. eines re Ldéoxod "a8 rgenat mort: ‘esinon. ‘toro be70 Loo
| sascteah! bas es bswghie elt te: ‘oui ‘ea hw @ tue ‘aes F

VI--29

the Sakuraiyaki. It is made of a pure white clay,
fine-grained but not hard. It isinot a very heavy
piece, and weighs only 26 momme(a little over 1/5 1b.)
The glaging is whitish, lustrous, thinly laid and crack-
led. The inside is also elazed. The pattern is. put
if a rusty? Siaver It was made only two years ago,

and it has a stamp réading "Sakuraino-sato"(Village

of Sakurai), on the ‘Wolte, gute cover.

The wheel-made tea-cup of Fig. 27 is another ex-
ample of the Sakurai ware. It is made of a greyish
white kaolin, fine-grained put not hard, and is fin-
ished in a glaze of the Santel eres . The pattern is
in deep blue of a greyish tint. It has the "Sakursi
aino-sato" stamp on the bottom. It was made two

,

years ago.

Meppo-yaki.
Hime nwelsiaten is made at Hatakeyashiki,Meppo-daSi, about
two-thirds of a mile north east of Wakayama, Kishu.
When I was there on October twenty-seventh, 1878, I was told
that the factory was first eétablished there about one hun-
dred ae ago, but I am inclined to think it was not more
than eighty years ago. The first potter, Zui-shi Kero-
kure, was a pupil of Mokubei of Kyoto. The Seijiware was

the most important of his outputs; but he made some others
ras

with-red or brown paintings. The wares were marked

eS Oe ian

4 igh b. re
! 5 Aen? 5

“yxefo) odkiw eth Xe ebem at JT stalagiermiet an
yveed ytev s ton Sar 2 Se . Bradt fon tid bontstg-salt
f.df BYE Lovo either a) enmiom a8. ytio adgiow ben ,e0atg
~ doer Dae btet qlabdt ‘gthodduet dadtte ak gaisels aT
arg at atadiqg ext. sperala oeleiat ebtemi sd? bel
038 “atsey owl, ¢fao eben “aed ) TI 6Saln gteny at
os [11¥) "otaa-ontoruniat" antbeot qiate 2 eat tt bas
<TOVOo | efidite ebtemt anit) exo" of £ertsnin® ae
~xS. isl cites ak 7 att to qio~aot Shane L eed on? . Aas
tatyeny B to ebam ii #0 .OT2W teva? ott ‘te eLone
mE SBR Re dread toa dard bontery-eatt iti Load jev tdw
‘ahoatetinn eat roles omee ott to penlg, a 0b hedek = 7
teuntae” ed?) eof 21 taht delyem 2 to enid deeb) xt.
owt her eaw PI » amodtod ant, g9 quate “otes-ofte
ae ee Mee? Bere ek . 99a: eta|% -

4 {

ee eer bayonet. ‘
trode. theboqrer, Hitdeeyedetek te obies. at eee
ects “meet ramayenall te. tase dtx0s eLhea 8 to: ahbhdd~owd
Brod aew T. a BIE dtnevee-ainew?, ‘ted9d09 ceo exedt aaw Ie goal
sat ono toda, onedt edaktdetoe emt. aa star ontt bat

VI--30

he
U

get", either stamped or engraved. A man called Kichibeu
was his chief workman; Incidentally, there was a tea-
room called Bukkwado on the grounds where the factory
was. & certain species of mushroon called reishi used
to grow on the front of the tea-room. His name Zui-
shi was derived from this reishi. He got his clay
from Kogawamura and Yamamotomura, @nd@ his kaolin from
Yuasamura, of Arita district, Hiromura and Otokoyama.
In the first year of Meiji(1868), the factory was given
up by the then owner Sakiyama Rikxei, but four years later,
in 1871, a Kyoto manufacturer named Tanzan sent some of
his workmen and resumed the industry there using the old
furnace. But in the seventh year of Meiji(1874), it was
again discontinued. The furnace which consists of eight
sections, still remains in a demolished state. Then in
the same year, Nose Sensuke, one of the workmen of his
predecessor, built a little square furnace, and he is
still making some bowls, flower-pots, and other sundry
goods of a very coarse quality. Hecgets his white clay
from Fukeno of Izumi, amd his red clay from Irumata and
Iwase, Nagusa district of the same province.
The wheel-made incense-box of Fig. 88 is a speci-

men of the Meppeyaki, about eighty years old. It

is made of a kaolin of the earthenware color, hard

and fine-grained. It is heavy and weighs 25 momme

(about 1/5 lb.) The heavy glazing is total except

on the bottom and the fitting edges. A landscape

O&«-I¥

Jedidoin belieso mam A -»b9vet ane To hoametea nodtio ..*te2
SOP) 8 Baw oxetd, ef fattrobtonl snacntcow teide eid 2sw
yuolost. edt. eretw ebage ts eit no obewdast bettas moot
hear tdeter belles footie wa to zetoeds miatico A _.BswW
~ igh: estes eih moot-eet adit to taogt. edt mo wore of
rato eld tog oH .idelet gists mort Bevined gaw, Ida
mort aifost aid fet ,stomotomameY bre arvuawegos mort
.smayouet0 bas etumorth ,tointets atixA To ,sismsesnT
gevin aaw qrotesat edt (a8asiiiitel to szaey vexit edt nt.
tetef Btsey Iwot aed aebeshe sue({inae® tenwo medt.eds ydoqs
to @mon trea desne? bomen toutoe tagcat oteyl s UEN8C st
blo ent gatas ered) yitanbat eft bemeaget bas semtitow ald
paw TE (AVAL LE Lem to te0ey dineves edt at 208 — es
_tdgie to atelemoe ioidw, sosaeyt eit borattaooats alee
i osdT | tate bedetlomes s at an ene fiite ,exoitose
| aid to menziow, sag to exo ,exiveanes eaoll ,teey omea oft
el ed Snes SOBNITT STRAUS elttii se tf bod ‘gpagenebeta
Vthave «tedto bis atog-sewoll ,alwod .emos gitaem Lftte
elo atinw @ tel ateugall sysilagp eets00 yiev e to aboog
bas atemtsI aort qeio bey aid.ine ,inwel te oneds? mort
,sontvozg emse edt to tolxteid sevgall -,easwl
~toeqe a ef &8..ghT %o xod-eensoni ebam- leer edt
a ,5fo eateey qidgte toda fda youre eit to ‘nem
bist ,toloo etswnedtiee ed? to SBiiondl:2 to ebss ed
om ont 88 eiigiowibas.tyeed ed Si. bomtars~eait bie
tqeoxe Isto? et gntselg yveod eit (dt a\f txode)
eqeoebnsl A .aegbe guid it edt bas mottod edt wo

VI--31

is beautifully engraved on the outside. It is
stamped "Zui-shi" on the bottom.

The Whee enka water-jar of Fig. 29 is another
example of the Meppo-yaki, about eighty years old.
It is made of a brownish grey clay, hard and fine-
grained. It weighs 340 momme(2 5/6 1bs.), rather
heavy for the size. The,glaze is somewhat lus-
trous, Seins- 2 SeecTtek grey and crackled. It ex-
ends to the inside also. The design is in dark
brown. The name "Zui-shi" is stamped on the bottom.

The wheel-made katakuchi{side mouthed) bowl
shown in Fig. 30 is another Meppoyaki, made of a.
coarse but hard clay of a greyish earthenware color.
It is heavy and weighs 135 mommelabout 1 1/10 lbs.)
Its greyish glazing is of a lustrous nature, medium
in thickness, and has coarse crackles. The red of
the design is lustrous but wee quiet, and it is laid
fairly heavily. The green is somewhat transteeeet
and also rather heavily used, but the dark glaze is
of little lustre and very thinly laid. Being a copy
of a red Gosu, it is coarse looking but handsome. It
is marked "Zui-shi"™ on the bottom. This piece is also
about eighty years old.

The wheel-made flower-vase of Fig.32 is another
Meppoyaki, made three years ago. The brownish clay,
of which it is made, is fine-grained and hard. The

glazing is of brownish black,covering pretty heavily

eS ee ,

at tL shale ihe edt ets) arco ULintiteved at

3 modes. add mo "tifa baS" boamte

eshiane at re git to tap~ <9d6% ebsn-Loostw att

bio BIG9Y utdate. tiroda ,Hlet-oqgent edz to a |

~eait bees 5 tad ‘velo vets detawoid 2 t6 eben af “e

“qeriter ets edt a\e g.) cmon oes aigior oz - jbomlerg

ment tadneston él esaig,onT .esia odd tot wvsed

~xe vs be Lloete hae xeug dotresss -2-aaked -asott

aved at eal mateedh ont eats ehtent ad? of abae

smedted ent no beqmete ef *Pele~ tod” omen ant awed
fwod {Sedtrom ebielidoutetad iian-tbsite edt

8 to eam itetoaaett tendvons at OS .gft At Kwode

s tof Qo erevnedtxe8 daryers 3 a to veto btes tnd ®2T809

: adf Orvis tod) omom BBL adgtew bas yveod al $2

; neat boat ewes auontes! 8 to at gitaals datyers bt

to ber edt ,eeldosto S#LK00 was! B ns eaeniotdt Pe

mad

ary at. ¥i- sNetyg pier inp okow tad avotten ei g agiesh edt

shans snr)

tesaayane xt taxwenoa ad goats enT / .elivaed elxist

at esata txab edt tind sbeax ullveed sedtex oala rm

Ties 8 gated bier ytahid grey bic extent OLFt Et to.
em semonSaad tad giitoot eats00 at it +4180 bet £ to
gale at sootg aldt _ silos fo ods <0 "fde- Eng bodtem &E
es oe seca ar ‘ =bfo ateey tidgts tHods
neddons at yt to oaay-tewe lt sbam- fecdy edt
eto detawoxd en? 1038 atxey soul? obaat + blayoggott
od? brad ‘bas bomiorg-enlt ai ‘.obear rT ot donsn to.
Lend wien aizevo9, ioetd fatewors % to at E aattets

VI--32

the whole piece, inside and ontside, over which
white and bluish glazes are also heavily applied
with a spotty effect. It is of a medium weight
and weighs 63 momme(a little over 1/2 lb.) On

one side, near the bottom, there is a stamp read-
ing "Made by Sensukn". This beautiful piece is
nak without a characteristic of its own, but it is
very similar to some of MiyaNi's works, of 0O-tayaki,

as both of these ceramists were working together.

Kairakuyenyaki.
Levee eres was first made in a gaden at Nishihama,
about two thirds of a mile west of Wakayama, belonging to
Tokugawa Seijun, the then reigning lord of dauay ate: When
I was there on October twenty-seventh 1878, I was told the
first furnace was started about Bunkwa(1804-1817), and some
sometsuke wares{with blue paintings) were being made. In
the tenth year of Bunsei(1827), Seijun induced Hozen Nishi-
mura Zengo to come over there from Kyoto. This latter
made some eactatul wares after the style of acCoéGhinware.
Some of his works are made of a greyish brown clay, hard and
fine-grained, white others are made of a white ais lian ace
yather coarse quality. The glazes were of several colors,
such as yellow, violet, green, blue, white, et cetepaan of
strongilustre and transparency. Hill his works rs exqui-

sitely made and little short of their originals in quality.

eames :

fotde avo ,ebtatvo bas sblaat ,eoetq eLodw od?
Ssilqqs vlivesd oats ets aerely deioid Bete otkdw
tdatew mufbem 8 to al + +Tostte tinihan eg ditiw
xO. (dr : a\f neve eftdit ‘ejounes £6. edatew bag
-~bget quisd s 8 vi ated? vag oul t usen ,ebte Oi
et could ietitsesd aid? | “givene® — eball" gat :
“ak #1 Hird we ati. to diverctaataln. gs tuoddiw ton
(tdevet-0 Bo .astew 8 ‘Bhey EX to @mge ov 1 Liate Ti6%
~cedtegot anixror etew ataimetes eeedt to ddod ora
bleyaoynlertad oy ‘ a.

\ pieditels fs neksy & af ebea vertit: gaw bis ktpda ta:
of gnigaoled reaetnst rill to teen olin @ to abutds owt trode
fresh ana yasat to bot shlaates ned? edd thee wmegixiot

eit Sfot @ew 1. ,BYOL Adwevea-ytoewd ‘gadov 99 ae OTesis awe 5
* etow Been (0 16L- 808 L ewsot juodg betrete cow soamtst textt
ml «Ghent anied stew (egnttaton anid dtiw}eersw Aner ones
-ttatt nexor eouhat mutter, ($6) tecand to 209% dtaed sipied
xeftal ehat. oro Coe ‘ered tevo euod ot saree econ

.oteuur iefb0D- 8 ‘to otyta: oxi? wits gota fotat owes emod ebaadt —

bus bted aero wos sargera rs ee onins et2: attow aid to ento8
5 tq ai loss, ot tat E to eben, ors axedto ohiaw cboatsra-onit
|. aroLos. fereves fo, etow eexeta, edt “agitfenp ee%800 sade
-. to apaeae0 te etki rots 11903 elery mol tey ess douse |

iepxe otew p akro¥ oh ‘ik Nemaseaest baa evtant Grote ae

Mi sie. a. ue | a: ere e i? oe ate Up

“4 sbi viatte co

VI--33

They are marked "Kai-raku-yen", either stamped or written.
Kichibei, of the Meppo factory, was the chiefest workman
here. The clay and the kaolin came from Hiromura of
Arita district and Nakano of the same village. Seijun
was so much pleased with the success of Hozen that he
honored the latter by giving him a gold and a silver stamp
vee "Kahin Shiryo"™ and "Yeiraku"™ respectively. But
this factory was discontinued in the latter part of Tempo
(1830-1843), upon the death of Seijun. During the Kayei
period(1848-1853), some similar wares were being made at
Ot koyame of the same province and at Meppogatami also,
but they were much inferior to the real Kairakuyenyaki.

The grounds where the Nishihama villa was now belongs
to one Re ry Sakatamura and Igumi Tobei, since the
second or third year of Meiji(1869-1870), when the proper-
ty was transferred to them.

The wheel-made flower-vase shown in Fig. 31 is a
Kairakuyenyaki, about forty years old. It is made
from a greyish white kaolin, rather soft and fine-
grained. It is heavy and weiens 42 momme(about 1/3
ib.) ‘The blue glaze has fine crackles, while the
violet has none; both are somewhat transperent, strong

of lustre, and laid inymedium thickmess.

O-ta-yaki.
W0-ta-yaki, sort of continuation of the Meppoyaki, is said
to have been first made about nimety years ago, though I

think it can not be more than eighty years ago, at O-tamura,

® ; 2
=” { ry
*
¢ C4 ¥ sy

2
¥ Sere ; r
; ig c<
* - —
‘ * on
4 t
, i
t
; f
i oe
ahe 2 :
~ f 5 ;
[ j ‘
oh ) mp2
is Y. 2% + ain nants were
«
: .
a4 og

“2

—

VI--34

Nagusa district, of Kishu. It was originated by one
O-shima, who was succeeded by Kawashima, a retainer of
the Ando family. Then through one Takigawa, successor
of Kawashima, the present owner of the factory, Miyai
Sajuro, took the charge 4£ the trade into his hands in
the ninth year of Meiji(1876). His furnace is built
in the style of a Kyoto furnace, and consists of four
sections. When the Kairakuyen factory was given up,
very few had been initiated in the secrets of making
the ware. The O-ta people made their goods according
to the instructions of one Masakichi, who was ree of
the few who knew something of the manufacture of the
Kairakuyenware, but their outputs were not of such a
quality as was comparable with the Kairakuyenware.
Recently coarse looking but rather beautiful wares

are being made there, called "Goshiki-namako"( five
colored sea-cucumber), “Kujaku-iro"(peacock colored),
"Keito-namako", "Sumi-namako"(charcoal colored sea-
cucumber}, "“Uroko-namako"(scaled sea-cucumber), "Ta-
mamushi"(beetle), "“O-gonshoku"(golden color)"Sumire"”
(violet), et cetera, according to the color and fin-
ish of the glazing, usually in the line of flower-
vases, bowls, pitchers, cups, and the like. The
clays come from Nakano, and Ko-shingexe of Hiromura,
Arita district, Amakusa, of Higo province, and Fuka-
taura of Izumi. These different clays are mixed to-

gether in a certain proportion, settled in water,

pc at

exo yd betentutxo aaw tI .#deth to ,tobuteth ‘savael
to contnte® 8. ,euidaswert qd bebvsooue eew oiw. ,emide-O
Togsecose ,swagiie? end farords godt .eline? ofmd edd
fayit .yrotest edt to tenwo treeorq ent atidzeneX to
ni ebaed sid otni ebaxt sdt 26 ogemie ade dood ouster
‘ titnd-ef essniwt ete. (avery Et bom to teey trian edt
<isot to atetemoo Bris jeans ofeyt « To efyte ed? af
+a nevis gew yvrotogt ne yuna tieX edt sod? | -enottose
gatvem To ateroea ost wt betattiat feed bad wet yrev
gatStosos aboog tkedt ebam slqoeq #t-0 on? -otew oct
to ef0 asw odw ,idoitses™ eno to anoitorstant odd ot

. eat. to etitosTocem ent to gnidvemoe wend ow. wot edt:
e dova to ton etew atuqino tiedt tro ocawne cikaxdad
.Stawneyotetial edt diin ef8ata xno gaw da yoilevp
eetew [ntttuesd tedtex tad aittoat aatsoo yltasoen -
evit)odanusn-litdeod" hefise ted? ebed gited ets
,{betofos doooseq)"ork-sietox" , (1sdusos0-800 beroloo
-992 betolos [ecotado) Yoxaman~ tinge” ,"otsman-ot tex
~si" ,\ tedmsoso-ee98 beLaoa)"oxoman-oxorU" .fredeitoso
"erims2"(toLos nob loa) "wkedanog-0" lefteed) "idemnen
-ott bie tofoo ot ot gabbrooos BIeTeo te {tefetv)
-tewolt. to enit oat nk yi faves agitsels ens a9. dat
ed? sents, ond bax “8qu0 euedotig atwod 2988
alee to NA se i ae bis onsale moxt enoo ayelo
-sio? bas ,eeniveta oath, to eeckemh, toltatealh wthta
od; bexim, ote ayelo, Inenetten sosdt stand 30,atbe?
, tedew 1 aa asia sol} toqext bes Sete BE eee :

Ve ie _ wi vid a eee eT i i J oer
a eee Cy erry eee NS, ae ape ei ite aig eae

VI--35

dried and kneaded, before the mixture is applied to the
wheel. The designs are put on with a spatula before
the prepared wares are first baked. It is after this
first baking that the materials for the glazing are appli-
ed on the wares and put into the firnace again. Kawa-
guchi Shozaburo and Nose Sensuke are chief workmen there,
who were both of them employees of Tanzan of Kyoto. The
glazing of the "sea-cucunber" wares is supposed to have
been gotten by these two clever workmen, after some assid-
uous experimenting. The owner Miyai himself has had some
education at the Meppo factory.
The wheel-made pitcher shown in Fig. 33 is an O-taX-

Y Neon It is made of 5 Reels Glay, hard and fine-grained,

and weighs 52 momme. A black glaze with a tint of deep

blue covers the whole piece, seven its inside and bottom.

The blue glaze which shows the sea-cucumber effect is

also very heavily used like the black. This beauti-

ful piece was made only two me ie ago.

The handsome wheel-made pitcher of Fig. 34 is an-

other specimen of,0-tayaki. It is about the same

as the previous example in the coler of the clay.

It weighs 49 momme(2/5 1b.) ‘The dark streaks and

the brown ground resembles very much the glazing of

the old Seto. They are both lustrous. The coat-

ing is fairly heavy, and extends even to the bottom

and the inside. The white glaze on the neck is also

very heavily laid,and having some light brown spots,

it gives the"sea-cucumber"effect. This piece was

Hants

te ont oF boda | at urate edt erate. ae
| exoted eluded & tiie HO. ang oe sig te |
aide rette at st. | baked doxkt. one sexew 7 Derode om ons

ne

-ifqas ers aoleots odd xo? elatieten add ‘teat ‘gnisiad tort?
“awed | -niage soeritt odd otal tug bas soup ent 0. +
,oTeds seanttow tetde ote ‘edvene? enor bas orndaaone on

edt Dek gt to nesne? to eevgerane aad? to aod. exew a

~Bieas emg. sodte s toncirow severe, ond’ east ae { nettes Pe

enoe het ead tloemtd tayiu Teno edt Sedidmemiroqxe eros

; . _-etrovoet ‘oagem oat Se aoiteoube,
~Hav-0 ae ai BS abt at nvrodae ‘tented ig sban-Loedn dan

benissg-enit bas bisd svalo awoxd # to oben at ar. * piley

i, ¢
i a Nae ah

qeeh to Sate a din exely #ostd ) a + Sieion s8 esgic | fi

ade :
ee bos ebiant st) move 3 soely efodn od Bre veo |

pa as ts ee viet. toatte qedmiouo~208. odd awoke dokaw sala eutd

ec Moa ole ome bees A creak Me

atte ake cs ae te mot tg ee a

%

VI--36

made only two years ago.

The deep plate of Fig. 35 is another specimen of
the O-tayaki. It was made with a mould. Its clay
is greyish white, mediocre A quality and weight;
the latter being 94 momme(a little over 3/4 1b.)
Both the blue and violet glazes are of strong lus-
tre, translucent, and laid in medium thickness.

The former has fine crackles, but the latter has
only spots. Its feet are not glazed. This piece
reminds one of the Kairakuyen ware, though it some-

what: lacks the beauty and elegance of the latter.

The Modern Kairakuyenyaki.

The factory of the Modern Kairukuenyaki is at No. 4 Vota
erereuny nl Gochome, Wakayama, Kishu. I was there on Oct-
ober twenty~seventh 1878, and found out that the factory
was started by one Nanjo Wadayomoin about the fourth year
of Meiji(1871). It is said this factory is also one of
the surviving branches of the Meppoyaki factory. Any-
way, this man was shown, like Miyai Sajuro,by Masakichi
of Yuasamura how to make the Kairakuyenyaki, sha Ge Goes
tee some flower-vases, bowls, Gna aarerad, table-wares.

But his works were much inferior to the real Kairakuyen.

His method was entirely the same as Miyai's, one Ono Sugi-

yomon and the above mentioned Masakichi having been his

Ghief workmen. The factory was given up shortly after

its start. Only part of the old furnace remains now.

2 O8-~IV : th jeer

| , 038 Bts0y ows yao: eben

ho memioeqa xedtone at a8 +QfT to etalq: qeeb edT
wie ati ..bivom 2 dtiw ebem-eew t1 fie yateO edt:
:oagt ow bia ehikens ai etooliem ed folw datyets eat:
of. dL B\S cave eftorT a) eaour BO gnied cetisl edt
-ecl gaotte to exe sesela ¢elety bas euid edt dtod
feemlotdy apebad ais biel Dirge tressfanstt oat
eat tedtel edd tus jae Lilosto eait ead xemrot edt
eselq eld? ~., hessia tor ore tect att ; «stoqa yino
~gmoa ti davodt ener noywristiel wate to 'eno Biaines

tetteal edt te eomegste fas ytueed ent exfoal stadw

‘stdaynetustatiax® greboll ea? ; ! ~

Stow > .o% da ef isteynemfotiad mioboM edt to ¢rotoet ect
-t00 mo eters aisw I rr ,steyetat ,eamodood Idoanersse
yrofost edt tend te baivot bas ,Sv8l dtnevee-yiaew? rede
TSS, ddxv0t eit ¢yoda ol;omoyehsal otnell sso oc beteahs egw
to emo cafe at woe tony eidt blee et #1 «(IV8L)£b tem to
~gok .yrotrost ixeyoqrort edit to aedonard antvivae ont
idotiesel vd, oxsbet tayiy exit ,awode saw nie ahd Yaw

pe me ike pre yinies tex edt exten of wort etunsesst To
-20rsw-oldat Tateves bog elwod ,senav-zeno [2 emoe weet
.neynierle% Laer odd ot coivetat foun orew extrow aid tu&

~ base om) exo oh tage as euwse ont Vleriine asw boston all
and need anived ido beast benotdnem evods ould noe: seen

xette qitcota aw sorts ane Lresoat ont +menniccon tetio
Wom entemes sosanmst bio. ode te 304, oe strata abt

VI--37

-Works of this factory are not much different from those

of Miyai's.

Ninegawa Noritane,

October of the twelfth year of Meiji(1879).

Kwanke Zusetsu

(Illustrated Netes on the Antiques)

Pottery.

Vol.VII.

By
Ninegawa Noritane.

Octeber of the Thirteenth year of Meiji
(1880).

aa

Ute

TTT

ats ¥

GHiItss

ste ste om CF
dv Os

+ bOY

okt
¥,
1. wr
* La | f* +
Sigua tO
chee te afin
SHVTIOL Of

wes
fy
V0 bk

aT
iu

The ceramic wares of our country are of various schools
and types.

Works of the earliest period are all hand-moulded and
baked, not in any sort of a furnace, but simply in a fire
made on the ground with a pile of wood, as the most primi-
tive wares I presume meat have been made in any foreign
countries.

Then, sometime in the reign of Emperor Suinin(the first
half of the first century), a Korean method of making pott-

tery was introduced, but still the wares were shaped by hand
and baked in a small furnace, the construction of which was
not very much of an improvement. Wares of this sort are of
two classes. The one was baked in a smouldering fire and
turned out dark grey, like a Korean ware of that period.

But the native product does not compare with a real Korean
piece in its quality. The other was evidently baked in a
little advanced shape of furnace, and so it has the natural
color of its constituent clay. This latter naturally be-
longs to a little later period.

It was sometime during the reign of Emperor Sho-mu(the
first half of the eighth century), that the use of the pott-
er's wheel was introduced from Korea. Then in the early
Heian period(latter part of the eighth century), the so-
called water -claze came to use for the first time, perhaps
acquired from Korea also. This glazing became very wide-
spread, and the Imbe of Bizen, the Tachikui of Tanba, the

Shigaraki of O-mi, the Marubashira of Iga, the Tokoname of

eloodse asottavy Io tz (rte -u6 to eetew olmereo ont?
. «8eqygs faa
bag bebivom-hral (le ote beoriaq testizeas edd to airo¥
exit a at ylomte ord ,soe0tt w to dros Yow nt tom ,bexed
-~imixq teom eft ae bow to ates “ dtiw bauota edt xa" weak
fgtetot yas ai sham ceed syad $essren emire ot7 I eetew avis
saeitstnuoo
terit sdit)ataty2 ‘oxequts TO mater eff of smivedos ,cedt .
~#toq antxtem to bodtom saetot @ ,(yrstaso facit edt to tiled
Died wd Bbegqere etew gexeW ent [fits tad boouboutmt aeW wre
agw doinw to soltowttames edt (29e010t Ilene «2 of bered bie
to ets tYoe efit To asta trenevotqmt ma, Se: dno Yrev ton
Hie sift anitebivome #2 al bested — $0 eT -aeuasio owt, - . 5
. -hottedg ted? to ache ixgeaas 8 asks. cees xtab tro bemtot
osetod [eet 2. dtiw steqnos ton seoh sovbdtq oviten edd tod
& oi beslad ultnebive aew tedio ei? | Tht Leg ati. at eosta
fatuten eit eet tt op bos ,eoentst to edede booaevbs pLetir
~od qileaten rettel eid? velo tooutitenve att te tofoe
. | eboltes tetel efttit s of egmol
odd) simone torVSeqme to matex act gnitgi enitemoa eaw tI
-ttoq eft to sex edd ted .{ qurdnes atdgie eft to tied text?
| Vines ent af cont -8970N mort Seovbottal aew [eed ate
, 08 ait ,(qutnes dtdgte eit Se iat aetial)6oiteq natel ;
eqedteq ,emtd textt exit tot ses oF onne esgis-1staw betleo
obi TIsv snsoad guitels <idT .oate getod mort beriopos
} eft ,sdiet to totidosT edd ,gexif to edml edd baw ,bserqe
to smeroio? adt eal to atideasdyzel add dime to tole tegiAe

VII--2

Owari, and the Yoko-oka of Yenshu are all finished in this
glaze, even now. The masterpieces of these different wares,
especially jars, are very much like a real Korean work.

The early Karatsu of Hizen was also a water-glaze ware
like the Imbe, but later the manufacturers of Karatsu adopt-
ed a different Korean method, when their output was not so
hard in its quality as the earlier products. Bowls(for
dinner set) are the best of the early Karatsu, but their
quality is by no means equal to that of their Korean models.

Then in the second year of Teio(1223), Kato Shiroyomon of
Yamashiro went to China to study the ee are of that coun-
try. Upon his return, he visited several provinces near
Kyoto, where his exveriments with different clays were not at
all successful. Then he went to Owari, where after another
failure or two in the districts Chita and Aishi, he finally
succeeded in finding the suitable materials at Seto, Kasuga
distriev, He started a factory at this latter place, and set
out to make wares of various glazes, such as black, yellow,
brown, and dark brown,according to his Chinese method. It
was not until the Yeisho period(1504-1520), that the ceramists
of Yamashiro and of Tanba(Onohara) acquired his method. The
Karatsu makers followed the example in about Taiyei(1521-1527)
and the Shigaraki(of O-mi) and the Warabechite manufacturers

(of Iga) in about Tensho(1573-1591). Wares made by this
Chinese metho@ at the several places are very good, especially

tea-jars, but then their quality is not exactly that of their

$. <TH. i

eint mt becetnit Iie eta dane ta eda akoy edt Bk eh Tango
2etew toetettif esedt to asoutqrod au ed? wor cuve’ jesals
' row fasted fest « efit dot ¢tev ots ,etet yiletoscae

Taw esel9-t8d0" & oats Baw neath to sravetseXt. vitae ent?
-~fqobs vetarsi to gretstox tina 90% teteal tud ,edmt eft exit
o@ gor aaw’ Seqdeo tied? aedw.bo/tem asetad therettib 2 be
tot jalwok -atouborg rekixes edt eg Tiley att «ft Bred
tied tid vadute® > ae aft to teed dit exe (tes temnts
afabors nestot tied? Yo ded? of Tespe sneem on zd at eeifeup

to semoyorid® otal ,(ES2f)oret id ape bacnes iy vt sed?
~aeoo tedt to Oxe otnetes oat ybotea ae watdd’ 02 taow otidammsY
* aeeet asonivorg [steven besigiv ef ,Nrovat eid coqlt urd
on! Sot eran 6 avelo Frorettes diz ataemltscxs ais etasiw otoyt
’ tedttons taits erodtw few ot taew acd coum _ fitttiewousta Tis
“yf lent? ef ,idetaA ime aside etotrdats sit at owt to ertist
savesi ,oteo te aletrotem efdatinue att Sntbatt of Bebeeoowe
tod bue eon ty tel tal afdt te Yrotoat rs hedtets ott -toittets
\wolley teats ax Hoe shecet = eyolttav ‘te Bo tew "extn of wo
tI ,hodtem sesrit? ei of Batbroose,aword Atab bas word
ateimetes ont badd , (0$41-808 bo) 194 odateY edt fttas ton aew
‘ent? .botitem aia bethupos (atettond adm? to - bast ‘ottdecmsY to
(seat 1821 /Keqeat toode ai ned eLqinexe exit ‘pewollot ruven sat etek
etecitoe team exidaudirxsit ad? bow Cim~2 Yo) Hletegide: ‘mit Soe
ebay yo eben aera -(Fear-Bvarlodene? ‘tyods ai {anil to)

eitaloeges boos bid ety seoate Texeven oe te oaten eaonito

xiedé to fast? vedo tan ae yiitenp ated ost? tod sateen

VII--3

Chinese originals.

It was in the Yeisho period(1504-1520) that Kondo Bere
dayu( Shonzui ) of Ise went to China to learn the manufacture
of porcelains. After his return, he did some of his works
in Hizen, Ise, and Owari. some of his better-grade works
are much like the Chinese original,but his method did not be-
come very prevalent. In a short while it was almost entire-
ly. discontinued, except in Owari, where one Shino was making
something by this method aboufthe Taiyei period(1528-15249),
though not to any considerable extent.

Then another modern Korean method acquired from a Korean
ceramist naturalized in the Genroku period(1688-1703) became
very popular. In no time it spread itself to Chosa and Tsubl
sya of Satsuma; Takata of Higo; Karatsu, Tanaka, and Sankawachi
of Hizen; Takatori of Chikuzen; Agano of Buzen; Aki; Odo of Tosa;
Takahara of Settsu; Otowa, Mizoro, and Asahi of Yamashiro; Koku-
pu of O-mi; and Hongo of, Mutsn. Of the various products made
by this method, bowls(for dinner set) are the most important
and best. The factory of Tanaka was later moved to Arita. At
Takatori, bath this new method and the Seto method were used,
and that is why we find some very good tea-jars among the Taka-
tori. products.

The factory of Aki was later moved to Matsumoto of Cho-shu.
The originator of the Rakuzanyaki of Izumo came from this fact-
ory.

The Naniwayaki and Takatsuyaki come from the Takaharayaki,

while the lwakurayaki, Awatayaki, Kiyomizuyaki, Gojoyaki, and

ree" c a , elemtgiro eusaidd
; caves obo Seds {0885-2082 )Botzag odateY edd mi eaw tI

eustostumen eit ateel of snido ot tasw eal to (trenod® larga
extow aid to emea S£b ed rptet ata xedTA -aaislestog “te
axtow saps ett a emoe - adtawo bane eal tes LH at
-o¢d tom BES bodtem ata tud ,Lemigize szentdd ott exif doom ete
~eriine Jaomls asw ti elidw trodc 2 Bi = .toeleverq ytev on00
ai talear wigs enidé onto eee Peano xi tqeoxe ,besnitmooerh yl
th STl= -#881)botted teytel edt trodes bodsen eet ee gatttemon
ipbtrtonk) uate bi ickas Gils ot ton dgyodt
TeetoX #2 mort hexinpos bortem naeror atebom xedtoue ned?
emeoed (S0VL-88AL}botreg siorssD edt at bestlertend tetueteo
sdsat Bes geod ov tleatt beetqa ti omit on at. telircoq —
idozewsiass bas ,ateisT ,vetetaX «atl So: etasia? jane ta8 to aye
;22a0T To obo. : Hk imesnS To Gaegh . .Aesoxiso to lxotadel ;aexth to
THOR :orkdesmeY to biteaa has ,otosil sword ;sedter to etedete?
_eban eae apoitey eid) 20 aatut to ogaall bags 7ist-O To ud
toadiogal daom add ets (tea tomntb ot )eLwod ,bodtem aids yc

TA s8titA of bevon xetal esw stenelT to erotoat eAT s¥eed ge
bear erew Soxitom eted edt bis Sodtem wen abd Ssht 2eotaee
~ gue T edt gnome etet-ed Boog Yrev au109 batt ew yw ut teat bas
i | »ptouborg .ttot

se 049 to otonuat all of hevom, tani enw boa to Niotows eit
~tost aint moxt ‘Smte® sna "9 bisqnessied edt to sotenigizto. aT
’ -Ux0

aaa ont mort. eatoo bis wotedet bus boyaminalt oat

baie _tieyotod «fale SoU bison) oe yortnend etl? eLidw

VII-=4

Omuroyaki come from the Otowayaki and Mizoroyakiis The Aka-
Shiyaki of Banshu, Takamatsuyaki of Sanuki, and Nakamurayaki
of Mutsu also derive their origin from the Omuroyaki, so do
the higeieas ain The O-yeyaki and Setayaki come from the Koku-
buyaki, but the manufacturers of Oye and Seta used the Seto
anes also and were turning out very good tea-jars.

Then sometime in the Sho-ho period(1647), Higashijima Toku-
yomon of Imari learned from a Chinese captain in Nagasaki, how
to paint a picture in colors on a porceléin. At first, he was

not very successful, but after a few trials with one Kakiyomon

of Minamijima, he finally perfected the method, and it became

very prevalent among the Hizen manufacturers. Bowls and plates

are the best of the products by this method.

Then in the Myoreki period(1655-1657), Wankyu and Ninsei in-
vented a new method of painting on a porcelain, much like the
Higo method but more in a Japanese style of painting. This

method was adopted by the manufacturers of Awata, Kiyomizu, Go-

jo, Oto(Tosa), Chosa(Satsuma), and Kutani(Kaga). Incidentally,
the ica renee eee ocr Yamato was started b yn Ye

That. ‘ hain ov Gg hipvabsoren Us. Wate
peel 4,

SAS ON NRE Cah DO Spite rs War ED) RUT Aa cae
who a acquired the art from Ebiseig,Doki ana; one PSS

er of the Iganoyaki of Awaji, Ogata Shuhei; the founder of the
Sakuraiyaki of Settsu and the Meppoyaki of Kishu, Kiya Sahei;
anc the founder of the Higashiyamayaki and the Nishikide of
Satsuma, Do-hachi; these were all of them pupils of this Okuda
Yeisen. The founder of the Kosobeyaki of Settsu and jhe Aka--

hadayaki of Yamato also came from Gojo. Nishimura Ryozen was

Ly

ke+ ITV | Lee

~siA od? jisleyores iM bose IoleyaworQ ed? movt snoo: tieyormm
ixeyecmetet box , ficne® Yo ‘Hie gietensle? ' welaned to fteyine
ob G2 ,ixteyotrad edd mov nigtio ufeds evixeh oufs satu to
-infoN eft mox%’ omod’ Eleyetet bas Edturey-O est .tileyowabe ont
over and herr “2iec hae e7O Yo avemwisortunan edt tod, Played
»atel-aet fooyg yrey Tro aninwysy erew bast’ cals borden

oe anit idtdegih, (YhaLr)bokteq oi- one sits ot emitemos ment
wot, fiecege! at fiistqes egemidd @ mort henteel Vihar’ Yo Lomo y
ean of ,serit tA he Soored f 0 axolos xik-etntota s datwa of
nomeyinex eno déiw alert wet @ vette tyu ,luteagecsiue yisy tom
‘emgoed ti bas ,hotten edt betostteq qllaalt ed \amtt inant to
eeteig bas alwod Gtetstowtiungm ses it end unota tnelavexe Ursyv,
bontem efdy y¢ atorboiq-eds to teed ent eis

oh Leantt bie’ spine ,(VeOLedser bolts tlecoyll edt mi net?
ei} exit dom ,diefeotoq w HO gatintag to hodtem* wen 2 Detaev:
‘ain? .gettateq to alyse eeemeqst » nt esos td bodtea ogtt
“a? He SORTA ,atawa to erreritoe'tinam edt yd Betgqohs sew bodten

Ulistneb boat (awk) deat bea taaate@yeeodd » :(aaot oso 6h

fiepiey abirso Ra ere ew otemaY To quiegbag ite Foor, sid

iM ch, ‘yates, At ns fg oa) ra veh rd A SRL wn pjuet opr} hin apr. ot
orto pases ad y* Gorse anek Exo@,tontda mort Ste att Beitivpoa bad odw

ears

Wt to sebawot edt ;ieriode ates’ ,itewA to tileayoasgl edv te Ie
:tedee avin .adett to ineyoaqell ett bas wetted to bis Vacmie®
to ebididert ent bike tistemeyitessth edd to tebnct edt? hin
ebuuvo ett to efiqta med? to {fe orew eaed? : toate’ antet be
~ mgih ed bas wetter to isieyedoeed sdf te tebairot od? .oakey
a0 nexoyS atimidelt ,otod moxt seo vale otamsY to tistehad

a ee

VII--5

a pupil of Mokubei. Then, the Kairakuyenyaki was started
by Hozen, son of the former. tren- 4n the Kyowa period, one
Tamikichi of Seto managed to go to Arita and get the secrets
of making the Arita wares, and upon his return to Seto, he
started a porcelain factory there.

The hand-made Rakuyaki, that forms another style of pottery,
was first made by Ameya, a naturalized Korean of the Bunkéi
period(1501-1503). Terese tars: of Izumi and the Koraku-
yenyaki of Tokio ane started shueees arter this.

The Hinerimono(moulded in the palms), another different
style ,was originated about fifty years ago by Sakayori Jiro-
hachi of Kiyomizu. This sort was being made later at Gojo
and Awata also.

Then again, in the fourteenth year of Tempo(1843), Yusetsu
of Banko devised a way of making tea-pots with a mould. This
Japanese method became quite popular and spread itself to sev-

eral provinces,

on9. + erent a aaa

_awteoton te efgie demons wincott tacit | bie watese oban-bait ea

bps add te: mie hehe 7) -egomnh ve obemr —

a;

~slero% out Sua’ Ania lt tketotentt ed
pale hse

“otee: te ona obec ‘gabad gaw t198 eka onan ‘Se. rout
Oats etn ba
“wnteonY (8b0t eign ie Saehths ‘Neab edness! att at yet ‘moat,

VII--6

Kyoyaki.

The Kyoyaki was being made at Kyoto from about the Yeisho
_ period(1504-1520). The early output is all of the Seto
glazing.

| According to a book called Utsushitorioki written by Bes-
sho hohsbed: So-haku the maker of tea-bowls and tea-jars
(the latter having usually ears) of Kyoto, came from Kawazoye
of Musashi, in which province he was called Hakuan, instead
of So-haku.

Sho-i was an occulist, who used to live at Muromachi, Kyoto,
eff Yeje,

Chausuya Kohei was a skivper by his calling, who came from
Sakai, Senshu. He lived at Teramachi, Kyoto, near Honnoji.
According to the Chado-Sentei, he was a contemporary of Sho-o.

Takeya Genjuro, of Higashi Rokujo, maker of the Sonoyaki, was
a dealer in tea-utensils Daa cene cee bric-a-prac. He used to
make some small wares aad teasiers at Ryo-gayecho, Fushimi.

He was a great favorite of Kobori Yenshu. He got his clay
from Shigaraki.’

Ariki Shinbei, who had his wares baked at Seto and later at
Awataguchi, was a dry-goods merchant of Sanjo, Kyoto. some
book says he was a silk-merchant of Takakura, Sanjo, and came

from Nagasaki. He was called Ko-son Nakatagawa Zennyomon.

Kanamori So-wa, a cousin of Kichibei, made his ceramic works

just for curiosity's sake. Moyomon had his wares baked at

naLIV

* it es ha

odetey edt duods aor? otoyt te sham oe, as Legout edt
otek edd ‘to ile at tucitsr0 tise edt (08d £-2035)soiz0q a
santnels
-g08 yd neddixw IXobvotidevedU Bellao dood « oF guibtoooh.
ateb-sed Bisa elwot~ast to xhtom od mied-o8 itedstorn ode
syosewaes mort emes ot ox t0 {eitse Cilesres 5 giived rettat ent)
beetant ,sessel hellno saw of eontvorg doidw ot ,tdesesif to
be eee a tne iei-of to
toys ,igosmotol te evif of bens odw Jeituece. se azw f-ode | ‘
| : eter tito
mort emes giv gaifleo ata aa] meee ioe 2 aaw fotok eyuaradd
,thonmol tesa ,oxord:, idomusret te bevii oH “snsanee , beste
+9-008 to ciaroqmetne. ‘BRST ar ,tetne®-obadd ont oF ua botoooA
Sew tale y yonoe odd te sorlemt ot ‘lee idesath te ,orwsteas? ayeiet
ot beat ok /oatd-s-obtd faxenes hue eftamets-ee) nt releeb #
-imtdeut. odoeyas-0¢t te etet-set aw getew fLeme anos exact
Yeto ati’ teu or. i peawey brodo® to etirovet teers & dew on
| | ia | ne | "ite teohae moxt
tz sete l bos ofa te beied eoreW aia bad onlw ,tedmid@ Esthet
omoe - edicts cot nee to tosds tom ehoog-ytb & 284 iomgetem
ems bre , Of med curiae’ te doce de rama tbe s baw ed ayse eee

pnaumetaned svegedaxet Woa- ox belize aew oH bteegel mort

aitow olvieres ian ebam teéitoLt te nLaSao < avo8 ftomsne dl
te beded ‘eetaw aid bed momoyolt sete 8 "Wteotane zor tast.

VII--7

Takatori, Hizen.

Mannyomon lived at Mizoro, north of Kyoto. His works
were mostly copies of éhinede wares. .

Oribeyaki was sometimes made at Otowa, Kyoto.

According to the Chado-Sentei, these six ceramists lived
all in the days of Rikyu.

Sho-o Takeda, commonly called Shinshiro, was made
honorary lord of Inaba, later in his life. He was
often called Ikkansai, his "go" pseudonym. He was
not only a great enthusiast of tea-ceremony, but a
perfect master of it. He died in October of the
first year of Yeiroku(1558), at the age of fifty-
three,

Rikyu Tanaka, later Sen, was called Yoshiro
while young. After he became a priest, he used
to call himself So-yeki, Ho-sen or Fushin-an. Rikyu
is his sacerdotal name. This great tea-ceremonist
was the tea-master of Taiko. He died in February of
the ninteenth year of Tensho(1591), aged seventy-four.

As Oribe was killed in a battle in the first year
of Genna(1615), his factory at Otowa must have been
running about the Keicho period(1596-1614). But in
the Chaire-tewake-ichiranhyo(Maker of Different Styles
of Tea-jars) he is said to have been a contemporary of

either of these famous tea-masters, or living sometime

during the time from the time of Rikyu to that of Yenshu.

Terry. er

neste ,ixodedteT
autow. aif oteys to téteon ,ovor ll ge. bevil ieomoneascatl
,2@THW seekiNo To getvos yiteon etew
“it ,OTOYR WTO Te 8b ait gemitenos ‘Hew iieyedix0
hevil adeimates xie egedt ,tetret-ebedS sit of at kbtoobA
yt to eyed ext RE ffs
ebam saws, otideantde beffeo yinemmoo ,sbeideT o~od?
kew eH: ,etil ein at total ,adenl to bio f Yrs tomod
gen ot smynohseeq “en™ eid teanedxt belies netto
“tod Gecnerenuket Se: Vankiotios vseta & giro tort
‘edt to wedotdeO nt bets of atk 26 SEE eA Bet
-Uttit to eyes edt te ,P6Adl[isxortey To seey dexis
. ~eoutdst
otideoY Bellso aew ,mee ater etanceT syltt
bees od teeta « oxaced wt costs garoy eLidw
yait -,ae-ctdent to mee-oH ,bley-ot ileemin Ifso ot
tatnoneres-get tesrg eid? .emest fndobreowe aid‘et
te yYieridet ak Beth ef : aitket Ye seteem-cet edd av
thot-cinetes bene {rear jonanet to 1BeY dtaestiaia ait
_. tee8y terit ef? mi ottiad s ni Beff{it sew odix0 eA
neat sved teum ewot0 te yiotoat eid ,(SLaL)enned to
xt dud. (B£dE-bORL Botten odole edt duods eatanws
aelyee tretottit Ye rodett)eydtiexidtot-etewet-extad® ext
toe exaxeuneiies eed dead ef Biee af of (etat-set to
| enivemog guivil 2 stedhen-eed éndmet eced? to toate
.oiaceY to tad? o@ eetit to ents ond Haxt emft edt gaitub

4

VII--8

If so, the Awataguchi factory of Oribe must have been
started about the latter part of Keicho or early Genna
_period(1615-1623).

According to the Chaire-tewake-ichiranhyo, So-i marked his
zoods with % ; Taihei with O ; Do-yu withX® ; Do-mi Asekura
with ws. _ All these ceramists did their works in Kyoto, about
the days of Yenshu. |

Taihei and Do-yu must have been either physteians or
priests, as can be supposed by their names. They made
ceramic works simply for curiosity's sake, as many other
tea-enthusiasts did. But the locality of their furnaces
is not known. |

Yenshu Kobori, of the Fujiwara clan, was honorary lord
of Yenshu. His religious name was Tai-yu So-ho. This
tea-master died in February of the fourth year of Sho-ho
(1647), at the age of sixty-nine.

The beautiful tea-jar of Fig. 1 is a specimen of Tai-
hei'’s wheel-work. It is made of a clay of the earthen-
ware color with a greyish tint, rather medium-grained
and medium hard. It is fairly heavy and weighs 29
momme(nearly 1/4 lb.) The glazing is dark brown with
black and brown spots, thitkly applied. The inside and
the itokiri are not glazed at all. All the glazes are
rather dull of lustre, and very antique -looking. The
light brewn one is translucent. Around the upper part,

one can see the wheel-marks through the glazing, while the

lower portion, where it is bare of glazing, has some irreg-

QeclI¥ | ele

neod eva tei edtx0 to yrotest idovestaws edt ,o8 ¢I
anced yitse xo odofel.to tisq tettel edt tuode betteta
(88ar-a far j\hboiseq
aid bedtitan f-o8 OVineridol-edlewet-sxiedd ead of aoibropok
aunleed,. im-ot 4 Aatiw og-ot : Oo ntiw tedie? Ak dttw sboog
asc ,etoyd of pitow tisd? bib ataimetep esedyd Ih... 9 Be atin
, | ’ posh - sdeney to ayedh edt
to emelosayda redid is kees at teu uy-od So08 fediet
ebam yenT | «Bema tiott yd Beaogque éé, mao as ,ataoltg
tedto Yosen as ‘, 9x28 e xiflee bats tet glamte aktow olapies
neoeNIbt. rledt to ytileceL edt. cp =,.bib atastoudine-set-
| | | wend ton ab
hrel yretoned eaw ,aefo stawi( st edd to Fredax pies Es
elidT ,od-0c oy-ist Bew emer avoigife: oa wdanesY to
od-odf To tTesX it xiot ett to Yrewrvdet at felb xetean-set
| senin-yixie io eg end ta (TR8L) |
~fal to fentioege A at t git te xot-aet. fctttneed eit |
~xedtree odd. to yalo eto pee ai ei AO a' ted
| Segleta-maes on: audios: inti deiters « dtiw rofop eiaw
gs -aighow. Doe eveed vitist ah sh . ,bred. ite LB out bate
dtiw mword ttebat gotzela edt. {,d4 b\L ylteen) emuvonr ¥
Bas ebfapt ‘edt | betiqns ¢lasids jateqe mvord baw vosid
8 te senaly. edt ILA. Lie ts besely tor ota itidots ext
edT .gatdool-enpitne prev bas extant. t0 Linb resttex
ireq teqas eft bawota. . ~teepnlanext et exo, sword tag it a
YY edt RO rgaisely ent. senor atta Londw ott, 292 seo” eno
~gert enioa aut gaisely to viet: es. 2E sro nat sowol

VII--9

ular brush-marks. The little round mark © is found on
the itokiri. This beautiful piece, which is mich like
an Oribe, must be some two-hundréd and» sixty or seventy
years old. It is one of my favorite specimens.

The wheel-made tea~-jar of Fig. 2 is a specimen of Do-
yulgs« works, about two-hundred and seventy-or eighty
years old. It is made of a greyish clay, fine-grained,
hard and compact. It is heavy and weighs forty momme,
(1/3 1b.) The glazing is light brown not very lustrous
and not very heavily laid. Around the shoulder, there
are some yellowish streaks. Doyu's mark Mis engraved
on the itokiri with a nail. As to the shape, it is like

a Seto ware, and rather mediocre in its make-up.

HKarthernware Furo of Kyoyaki.

The Nishimuras were earthenware furo(tea-ceremony) braziers)-
makers. Zengoro So-~-zen, the third head of the family used to
live in Sakai, Senshu, before he came up to Kyoto, where he
settled at Tenjinotsuji, Rokuto Higashino Toin, Shimokyo.
Later, Ke at the instance of Hosokawa, Sans@i, he moved to Anra-
kukoji, Furumachi Kamitachiuri, Kamikyo, which street is now
Called Furonotsuji(Furo-street). He died in February of the

ninth year of Genna(1623). The copper-stamp he used is said
to have been written by Kobori Yenshu.

It was in the days of Zengoro Hozen, the eleventh head, that

Pea e RR a a eae a

ue
no Bbreeot et O axem fesor elttil anf.’ ‘Saae ttebrd tats
eiif down et Aoidw-,ecelq Intitvuged eta? .txidett ofv
Uinevea 10 Ylula haw herhaud<owt -emes ed tem ,edii0 ne .
,enemioege etizevet’ qr to eas at dt. bio arsey
~od to moms equ eo 8h Sart 5 tet-est efuct-~leedw edt
yiigievts-Yineves Dae bexvbavd-owt tyode ,eatow weguy
,bentetg~entt ,gelo datyets #. Te eben ef tT sbi6 BIREeY
emmom Yirot edsiew Hite evaded wt TT steequoo bie D tad
avovtesl yxev tom Awotd tdeif @f aniagts eft . {.¢f 8\£)
etedt- \vebiveda edd bavetA “bial ¥Liveed prev ton bas
hevetsos ai ON xzpe a" sted exegortts Agiwelley ete’ ote”
exif et ti ,equde odd OF GA «Shem w Stiw itexott oat no

»i-stem ati ni eroeliem verter bas | stew otee? «| ~

.isleyee to ors exawnrodtiad

t puphaasat eee téet asta Stewiedithe orew satnmideatt ent
od beer eiimat od? to beed brtds ond tes 08 otogaed ste vent
ef etedw ,otecdh! ov 40 omega of exoted pita’ tele? KE evil
soysomid2 LOT onideagih fustor ‘ptbadkertaet oie ‘heleves
~ BUA oF beveu-44>(hhens2,ewatooal Yo eonatani ed te ef te ted
woot af teerte dosciw? ;oqittinad (den tnoed2aax fdosawist ifedsa
edt to argurtele Yat bees ie (teette-orw il) ii sedonots beliao—
bisa el bees od ‘qmate-reqqao eat < {8582 )anmed to Tae tein
> sppdece ¥ ttodox “ed edt igi ftesd sved ot

, jedi Sued iheve Ee add: can paegaat ‘to mead ent a aw OT

Hi

VII--10

the surname Nishimura was changed into Yeiraku.

Zengoro Wazen, the twelfth head, went to Yamashiro, Kagay
in about the Bunkyu period(1861-1863) by the inducement of
the lord of Daishoji. Not only he was making some worxs
of his own, but he was giving lessons in the ceramic art to
the local puptis; but somehow, he was not satisfied with the
position ane came back to Kyoto. In about the second year
of Meiji(1869), he went to Okazaki, Mikawa, where he stayed
with a Takasu Kichijiro, Tenmacho, and was giving léssons
to the latter's employes while making his own works. Then,
again in the tenth year of Meiji(1877), he came back to Kyoto,
where he was working at his former place at Aburano-koji, off
Ichijo.

Sansai Hosokawa, Tadaoki by his real name, and Yoichiro
by his boy name, was honery lord of Yetchu. In the fifth
year of Keicho(1600), he was made lord of Kokura, Buzen,
and a councilor to the throne. After he became a priest
in the sixth year of Genna(1620), he called himself by the
religious name of So-ryu and the "go" name of Sansai.

Then when his son Tadatoshi was made lord of Higo pro-

vince in the ninth year of Kwanyei(1628), he moved to

' Kumamote with his son. He died in December of the

second year of Sho-ho(1645).

Hozen changed his surname into Yeiraku, when he
hes given by his lerd- employer, Tokugawa Seijun, a
gold stamp reading "Kahin Shiryu" and a silver one

reading "Yeiraku".

wi

gue .outteoneY. oF taaw bebit “Pt Lomd ott noua Szogies
“to Paemsoubak ‘ont: 52 (epas- reer) ported wyieee edt yoda ct }
extow enioe gttant egw! edt yfno Ton” \tbedetet to: Brot oat |

Oataeee aie bike oan cron tite he eae oat”

ot Fx: 5 ihieted ody ne, anoeael gaivig: rt od tnd. wo eid to
edt dtiw Bettettee tom ew: “ont! wodemon tod” peliqn rade ont
LROT Baoves ‘edt tieds “ie? “Loto OF toad “onts8 “bie moitteoq”
beqeta ef stew evetit | taesio of toow od (oper tpre to
esoeaal gaivin aul Bata” cetbaemae) Sunt Eto le HaedeT ¢ Atte
edt \vextiow nwo etd iga Baten olidy esyo lane: 8 “getter ont ot

or eyed et toed ‘pmeo ef OEE) Ef tom to aay ‘test one of “Hissa” .

‘to took ones ie ‘eosta xemrot etd ts antitder enw “at etoiw

Lae es waren foe “sober
esitfotey’ boa” ,emen leery ait Ud. ixXoshaT auatoaol ‘Hesnat
dst tt ‘gait SE. —asittot ey 26 pret ‘reno ast Po end aid bre
tresna ats to fc eben exw ed (OORL)exiozex To! eee
| Festsg & ontwoed” on xoete ‘) venontt ont of teltorives’ a Soe
: eieee ed tleeuid Beftes ‘on (OS8r)anned te they tities otf ne’ nt
S. desta Ko: prt og ent bow ier 08 id sina eHatgriee
— ‘bgit te ‘prof obit ow ieee, toa |
Oe: bevon wt on OREN FOYE to

VitI--11

Literally "Kahin" means a ;river-bank, and "Shiryu"

means a branch. As the first Chinese pottery-maker Shin made due
worl ora roe bank; pattiry- malers

’

aof later period qe said to peg "ranin Shiryu", that is,
a followerSof the industry started at the river-bank.

"Yeiraku" is the name of a period in the Chinese
history, during which many beautiful China wares were
produced. The "Yeiraku" stamp was given to him, because
his works were considered no less beautiful than the Chi-
nese Yeiraku wares. Hozen thought it was se much of an
honor to be given such complimentary tekens that he chang-
ed his name into "Yeiraku".

It was in the fifth year of Kwansei(1793) that pottery
was first made in Okazaki, at Mutomocho.

The hand-made incense-box of Fig. 3 is a specimen of
Se-zen's works. It is made of a clay of the earthenware
color, coarseg and brittle. Both the inside and outside
are finished in gold,which is fixed with red lacquer.

The white chrysanthemum design is in chalk, except the
stamens which are in a yellow pigment. The calligraphic
marks on the outside of the cover reads"Sezen saku"(made

by Se-zen). This characteristic piece seems to be about
two hundred and eighty or ninety years 01d, and weighs 85
momme({ a little over 2/3 lb.) The inscription written
by Kakkaku on the inside of the cover of the box Beads
"Round Incense-bex of Chrysanthemum design, made by So-zen".
The character "Sa" e alse marked on the cover, which is

attributed to be So-sa's mark.

“oynbdte” Bite. inad rvs) * “angen "aided" ‘viteretid
ch she.ner wil2 voxtsin-yrstiog evanidd. textt edd. ed cactays £ & Speen
ak tase "enter cider ied of Bian ob bolted sefel te,

stoed~rev is edt te betwie yrteshat edt tectowollot

- SS0REE?, oft of beizeg s te. omen edt at “wietiey" -

9Tew eetew anidd ivtitoged Yet set doldw Soha etuote td
eassoed ,mid o¢ nevis asw qaste “slertey" ed? -beorberg.
~£d9 ett nett Ietitseed eeel on betebtanco erew exxow. etd
tte to dosm o@ gow $1 tdawods ee a bites imietieY esen
~gnado. ed tect - ecexed Pret nemtiqmos. slosre nevig ed of tesod
oa «"ilexiey" otat emen eid be

‘Yrtetiog tect (8@TI)ieanewX to recy AVTEE odd af gaw-—tI
: -ofdonoty ta bilesed® at sehen vetil sew

to. ceontoeqe g ei §. .glt to. xod-sansont eheut-basdl eit
orewned) tse, edt te. ysto. & te obes. wi ti, ,euxow a'ses~oc
oblate: bas oblast exit tod Aiahd Ahi céalabs: (adiel
-tesposl bet Ad iw bextt at dolaw bLos at. bedelait ets

edd #qeoxe, ,tfedo a at saieed pumedtagayrae bs at oat 4

otdgar3 Mao ont, tomate. bjt he # Si ete do
oben) "siies fesot"abset mevoo edt Yo. st istcelgity
tuede ed of emsos. aoeig gitetsetontedo, edt s(a02- 08. yd
“a8 atigiew bas ,bfo euey Seerta et widais bie bexbagd owt
‘geet how nottgiroeds ad? . (dL a\s rove efttil a emmoat
absew xod edt to. x9¥009, act to ebtent dt. AG. wiewiad yd

-“qes-o8 yd. ebam ,agteed, a ‘29 xog-pameoa! Savon"

al doidw PET FR, end e De i te a See reson =

, ar . . 7 Pa * oe " rh

Vea we ND

eS Te ee

= a'ae-08, gt Bas apesrtnacne

ee ee

mA z
4] . ,
TEES ee a a

Vit--12

According to the Kokon Chajin Keifu(Pedigree of Tea-
masters, Amcient and Modern), Kakkaku So-sa, otherwise
called Genso, was a son of So-zen and an adopted son of
Ryo-kyu. He sometimes called himself by the name of
Kekkakusai Ryuken. This greatest tea-master after So-
tan had several tea-utensils made to, “Special order, which
are now very much prized. He died in June of the ninteen-
th year of Kyoho(1734).

The wheel-made water-pot of Fig. 4 is an example of
Wazen's works, made of a white kaolin, somewhat trans-
lucent and probably gotten from Owari. The inside and
the outside of the base are glazed in white, but the outside
is in a beautiful red glaze of dull lustre. The design
of autumm grasses and flowers is painted in gold. The
red mark on the bottom reads"Made by Yeiraku at Nukada".

Nukada is the name of a district of Mikawa, where there
is the town of Okazaki.

This very shapely specimen was made in that district
about the second or third year of Meiji(1869-1890). The
only defect,if any, is that the make-up of the mouth ia
the handle lacks something of the strength. The inscrip-
tion on the box reads "Gold-painted Melon-shape: Vater-pot"
_and the stamp on the inside of the cover of the box reads
"Made by Wazen Yeiraku". This gold finish on a red ground
is very much like a Chinese Yeiraku, except the painting

on this piece is in a Japanese style.

eueeyT te sosptnot unten: ftteda!nenen
| ot kwaertte {8808 wlestste berepox bi a
ts re $6 wea bedqobe 5 paws os-08 te £08 3° a eee.
to: smsn ont ed tloamtsd holies womttence oe “arto -
mob tette ‘otien-sot tasteers abd? “attosayt. Heowkisbies :
i dod tebe taroeaiyet eben ar iqnwts-eot Lerevea Bed nat
-néednta ent to sang ak bers ‘eH bets ‘dom rer won ots
ABER EOLOCE to: ‘iii it

‘te olgnexe fe ab & Wait %e toq-tedow ehasi-Loede od?
~eitets tedwenoe ,axtlead oticiw @ te obget vextzow. 4 aeear
. Sax ebteni ed? =. Etewd mort x8dtog qdadouy bas ‘taeogt” .
ebliatie off tud otiaw ai Bessig eta send. ott ‘To obhetive ost Be

Sa ae
kaiaes ed? | extant find to exsefs ber istitused a Mike ae

aes: Lee? F blag ai betniaad ef stéwolt fire. secuaty found si ba
| “abatot ta mletieY wd ‘eheX"ebaee mottod afd mo, sia: Sox
eters etedw.. eae te totidets - a) sou vat al ba

bape ~

ree ont ‘to reves = Sai

VII--13

Omuroyaki.

Omureyaki was made by Ninsei at Omuro, Kuzuno district of
Yamato. On my trip there im October of the eleventh year of
Meiji(1878), I was teld that he was born in the province of
Tanba, and his real name was Ririmura Fujimasa Seiyomon, be-
lenging te the Fujiwara clan. In Kyoto, he lived in Ninnajw,
in the domain of the Prince Ninnaji, and was made Harimano
Daijothonorary magistrate of the province of Harima). It was
not until after he joined the priesthood that he began to call
himself Ninsei. While young, he was staying with an uncle of
his at Otomura, Tesa, where he first learned something of the
ceramic industry from a naturalized Korean potter, Butsuami by
name. Before he started his works at Seikanji and Otowa, he
is said to have studied the Seto method under Genjure in Kyoto.
Later,he was engaged in his business at Kiyomizu Sanchome, be-
low Sannenzake, where his furnace still remains and is called
the Ninsei furnace. The products of this period are marke d((@|

(Sei). After his removal to Omuro, he used the Ninsei stamp
[& written by Kanamori Soe-wa. At that time, he used to get
his clay from the neighborhood of a Se in the same village.
Later, he began to use a stamp ike fp » reading "Ninsei™ and
suppesedly given by the vrince. He lived from the latter vart
of Ketche(1596-1614) to about Meireki(1655-1657) or Manji(1658-
1660). His son was called Seibei and his second — Seizabure.

But some books say the first son of his was called Seijure, in-

-betesam, nae
to tottis tb ‘onsen dius te ean ve saute “an witty ina. |
to 188% tonevele anid to ‘revoto0 wt ‘oto qed gn nor “oFameY

to eonitvord: edt ne wrod eew ‘ot ‘Wedt Blot eee T= COverEtteit

te

~od monte thee wosmttst grim bees aaw omen feo eid bre ede?
Penit ot Bevit ‘od ot our a taf exewitet edd ot aritgnet
onemitel shan wew Bre thanmen const eit To ‘ttsmob ott 5
eew oI femitel to eoniverd ‘edt 0 eterte igen Ytstomod Yot Lad gat
Ifao of Gaaed ef tact booddaerty ody Bontet od ‘tt ts {itn ten 5
ze efonas te sit tw ariqads ‘eaw ent Bmore eTidw ‘ + teamit ‘Yeamtd - a
edt to gaidteno bemtest Yertt od “evteriw ,adoT wisn ts afd
wd imevetse prettod nested best isided # mov} yrtenba tb olneteo i
od jawot0 Bow Elasite® te exvow atd bedaete of oxeted .emex
,otoye mt ort med tebuc bodten ‘Gan ett nethgta eved of BYéa el
~ od” , venodoms! wehnoytt ta eeentand ‘sid nf begegne gow oxi rota }
beliao at iin en inaie tbh sown? aad ered | etssmenntse wo
Hiperxes ots ported aly Yo. ‘edonbory ed? ( Veosmtent teenit es
os quate, beowit edt ‘bean od oe ‘ee Lavon? eid ‘rottA s(tee):
2 tea of best ot “yom Patt 7 ah bromane® ed nettity af ‘

sega ones. odd aE _. ae On ~ bi tee 10 dgton ‘end mort ele et
| specie oe one on eieate

VIt--14

stead of Seibei.

Ninsei, the great master of the eseramic art of the
middle age, made many tea-jars of rare shape and ori-
ginality. His works are much like those of his master
Genjure, though not exactly to the standard of the latter's
works. His glazing is of the style of a Seto ware, but

| in this respect also he could not equal to the old Seto
artists. Some incense-boxes of his are very beautiful
and of extraordinary shape, certainly full of originality.
So far a@s the contemporary works are concerned, even the
Chinese or Korean works could not compare with ie of his
works. One style or another of his various types of cera-
mics was imitated by the manufacturers of different manu-
facturing places all ever the country. The enly sorts
he did not make ere. the Seiji, stone-ware, and sometsuke.

Butsuami was a naturalized Korean who came over with
Chosokabe, lord of Shikoku, on the occasion of Hideyoshi's
Korean expedition. in the Volume IV of this book, I quoted
from a book that Ninsei had studied under She-haku, but the
original book was mistaken in this resvect.

When I was to Sanngnzaka, Kyoto, in November of the elev-
enth year of Meiji(1878), I found that the Ninsei furnace
Was: Still in existence though in much mutilated shape. After
that, Yebiya Yahei and Masajiro were using thé same furnace,
until it went over to Mikiyama Denshichi, who built a new one
beside it. Both the old and new ones are called Ninsei fur-

naces.

Meshty ee

: | -tedie® to Beets
oft te tte olmeres oxtt to tetesm teotg ot} ,teanit ee
~tto hoe eget etext Yo exst-eet ynex oben ‘on cine

tetesm aid to esodt exif sfosn eta edtow ait Wilents
a'zettsl eft te brebaute edi et yltoexe ton dgvodt ,orsiaed
tad ota etel « te oigte ody te af gateely eit | .astrow
otes bie eft ot Taspe tor BIvoo ed cafe tosqaay abit as
totitused Trev ete aid te eoxed- sensor! ene’ ateldss
Ui ifentgite to [fst ¢latedree _eqade Yrstibrostsxe ey
edd a9Ve ,bemreonog STs Bs tow YIstequs noo edd g@ tet e2
sid To emoe frre eteqmes ton Biueo exttow neetet t9 eweniss 4
~si90 To Reqys avoltev aid. to redionse.to ef{yta end vedttow.
~San jnetettth te stetstostrnan eft yo betstiat nas bane :
afitos yine eT _.yEtnweo ett teve [fe escola, auizuton?
.exlbet enee bre .oreW- anes pai toe add “ees exam dom bib od
dtiw teve omeo. odw meexe x hexilaintean eow boewedt sf
@ 'tdsoyebit te moiagsoe sald ao ,udoxide to Suet ,edaxoaod)
bhetoup I ,dood eidt te Vi ear loV add of | smo itibegxe agetox '
‘end dud ; sralaseh- 0:2 tebas betbute fad leenid ted? food S mort ‘
| -toeqeet aldy at nortete tas aaw Xood tentgixe
~yols odd +6 pana at ,otoyd siencgane oOo} caw t sone |
© sosatt teontt odd tad bauyo% t .(2NeL) it tes to trey dite
tetta segede betel item tom ai siguodse. eonetaixe i Liiteesw
+ PORATHE ance Sit anions sited oti{szall bas bensY syidek test

om0 Wel 8 tiivd, odw , idettaned suey AEN ot Teve tie di Litas,

“tH teanit Selleo etm Stee. wen Sas alo. wnt, S98. Saas,

ee
Boe, re Redan

VIT--15

The old Ninsei furnace of Omure at Hokushinche has
been long destroyed. When Yeiraku Wazen built a new
kiln there in the fifth year of Yayei(1852) with the
hope of reviving the once prosperous industry of the
village, the location of the old furnace was ascertain-
ed rather unexpectedly by the excavation of old frag-
ments of various Ninsei wares from the ground. This
new furnace built by Wazen consists of four sections
and was running until the beginning of the Meiji per-
ied. It still exists, though in a shattered shape.

According to the Chado Sentei, So-wa's surname was
Kanamori, and his real nane, Shigechika. In the nin-
teenth year of Keicho(1614), he joined the priesthood,
and died in the second year of Meireki(1656). Early
in his life, he was Living in Kyoto, but later he went
to Kaga upon the invitation of the lord there.

The wheel-made tea-bowl of Fig. 5 is a specimen of
Ninsei's works made of a chestnut brown clay, sifted
put rather sandy. It is hard and of medium weight,
measuring 65 momme(a little over 1/2 1b.) It is fin-
ished in a greenish dark brown glaze, lustrous, trans-
lucent, thinly laid and crackled. Near the pettom,
the glaze ends with a massy effect. The pine-tree
designs are in white, green and yellowish green, all
ef which are lustrous and the white is crackled.

The gold thinly laid over the yellewish green is very

bright. The inside of the base is not very smoothly

as

“@i-<tiv-

4

eed enfonidactel te oxmmd ta sounw?t teaalt bie’ edt
wen « tiind eae piletieY ced Sek sie Heed
ond dtiw ($86L)tevet to tesy dots? edt mt ered Hild.
ediv to yrfanhaL evensaeorg sono eft.aniviver Tq eon |
Aisa tenue wae soenxet blo odd te Hetéeoor std .eeertry
~aartt Ble to nottaveoxe eft yd Yldetosaxens redex be :
aid? ,Beuora ont mort getow FeantY avorisy %e ativeke
anoitoee trot te @tatemoo seus? qd tilsd soan tit well
~teq Elie ef? “to giilnniged eit [itns gatroyy aew Base .-
.eqeda berestede « af dguodt adatxe [iite #1.“ bet
few emenion @'sw-Gl «, lLetwet-ohband att od antbroood ee
-win ett mI .etiveentd®? (semen Ieet etd bas _troma nex |
boodtaetre adt hentot ad ‘(rst ledorex Yo T6OY ‘dined
Ulted .(d8aLr)eerish to sesy broose edt ak bets bas
thew ef tetel ind ,oteue WE Qatvil aew ed ett ete wk
we oxot eff te Mel¥etivar ed? moct eget ot
Ye Nemiceds » at & «alt %o sheaees ébem-Lestiy oft”
' Bettis ta fo dwetd tioveedo 2 To etxm asttow e'foanti -
jt#gtew muibes To bar bred of $I “Ghee Yeitex tid
-nit at 3t (86° Bie wowe efttir a lecntom a8 saliwexem
-anett! ,esortant _enly nvott il Hetnoerg & nf ‘bectat
matted ang 7 a -beliosid brut Beet ylakdt. ,treoot
gert-enta edt © Poe¥te yeton's dtiw ubde exald eit
Ife neers dafwoltey bax neorg ,edidwomi eve angtasd
\Betioero at bitty Sit Bas. avovtent ok cotdw to,
“geay at devty Hebwetfe¢ sd¥ weve Bhat ylaidd Blog sd
eiiteema rey tet Ok MeO oath to ebteat ed wtilettd

VII--16

finished and marked with a stamp reading“Ninsei’

Areund the outside ef the base, some irregular brush-
marks are noticeable. The edge of the meuth is not
very smoothly rounded. But as a wh@le, this light-

ly made bowl is very beautiful and rather characteristic.
It must be no less than two hundred and twenty years

old.

The wheel-made tea-jar of Fig. 6 is another Ninsei
specimen, made of a greyish clay, hard and fine-grain-
ed. Its weight is rather light and weighs 15 momme
(1/8 1b.) It is covered with a brown under-glaze,
ever which a dark over-glaze is applied with graded
effect. The glazing is translucent and seems to be
a Little thicker near the top than at ine lower part.

The wheel-marks are noticeable through the glazing

all ever the surface. The inside and the itokiri are
not glazed. This piece is marked with the "shippo"™
stamp on the bottom. It was made after a Chinese
Specimen, and though very charming, I do not think it
Can equal with the original. It is about two hundred
and ferty or fifty years old. The characters "Omuro"
on the box were written by Kanamori Sowa.

The hand-made incense-box of Fig. 7 is another Ninsei,
made of a clay of the earthenware color with pinkish
spots, rather @earse-grained, sandy, and not very hard,

and absolutely unglazed. I+ weighs 15 momme(1/8 1».),

af--TIV

PfeanhW”’ gnitast qanda » déiw etre bas bedetatt
-dautd telugetti emes weed oft to ebladwe edt basorA
on ai déwem. ed} to sabe ofl -.eldeediten ote eslxsn
=Sdail eidt ,el@dws aa sua: ) Jnlisens qidtoome yxov
,ottattetostsdo tentar bas fotitmeed grey at fwod ebam yf
vieweiaent bos Betbacd owt oadd eee l aw tenm $f
| | sbLo
Feami® tedtons ai’ Ait Te t#t-~2et sbhan-leedw eXT
~fieivs-enlit bxe Brent ,yelo deaiyers 2 to ehudt \,cemtdeca.
@memow SF aiaiew Boe IXdgil Yeates at tdaiew awit 52
.ssaelg-xobas nwerd « ddiw feteves wf $I (dt 8\r)
beberea diiw belliqas ai esalg- ~<eve ate5 s dotaw tere
- od of enigsa Dag tress fennet af giiselg eff . stootte-
stteq towel sdf te nei? got oat won tetiotit eftiti£ is
guisel godt cyvetdt sidgeoiten ets witiem-Leedy eft
‘ete ttisest ent fae ebtent «AT. seoettis oft veve ffs.
"eqqida” edd av iw bested ak sveig eit? - Peseta ton
‘gaeniao.« tod shat -eew él snodted edd ao qu Fa
df aiid? tem of I (griaircesio Yxev inayat teuti age
“bethaod owes iuade ae gLenigize edt dtiw faups A806 ;
"oreo" enetoeteds ef? Le @xkey yttit +é gtxot bag
| aves Exomanet yo Retbixy etew xod edt mo
pesnit tedtons at a “git $e: xod-seneont ebson-baad oat |
deitata Adin toLloo” ocannactiras: adit Yo yefo s te obam
,bted yvisv ton pit ebaee ~ Sen tins 002909 thoites adoga ;
(cd 8\f)emmon 3f adgtew tT hints tun ¢Ledutoads bae

VII--17

rather medium weight. Not only the clay is Shigaraki,
but this roughly-made but charming niece was made after

a Shigaraki ware. 128 marked (fy) (Ninsei) on the bot\-
‘om and is about two hundred and twenty years old. Per-
haps this piece was made by the second Ninsei, like others
that have this elliptical mark, which as a rule are rather
inferior in their make-up to the real Ninsei. The box-
inscription reading "Omurekabutekin" was written by the
Prince Gyodo, follower of Se-wa, who lived about the Gen-

reku period({ 1688-1703).

While I was engaged in the study of the historical develop-
ments of the ceeenne industry in Kyoto in September of the
eleventh year of Meiji(1878), I happened to come across an
old manuscript giving a brief history of the Kyoto wares, from
which I quote the following:

"The manufacture of the Chinaware was first introduced into
Hizen from China, hundreds of years age from this ninth year of
Horeki(1759). The first sale of the Hizen ware in Kyoto was
undertaken by an Osaka dealer, Tsuboya Ichizaemon by name, who
kept a store at Sanjo, south-east of Kawaramachi, under the
Gharge of two brother agents ,Yahei and Kuhei. Later, Yuhei
alone was running the store with a man called Rokubei as his
clerk. This was the first China store in Kyoto, and is four

generations old now.

The First Kyeyaki.

"Seibei of Ninnaji, maker of the Uchiyaki, later called Nin-

Fitna pbk at ‘ete: eit: eine ton anataw i
tnd
_ytod. edd ae (deoat) Q) nesta at at etaw rilateg tae *

-tel .bf0 eteey Yihews fae: bo-tbinnet awe toda ‘at plies

er oben aaw’ eooly gateracto bad! ‘anem-tidgaot ala

tediet ete int s sa dotde ‘eat canttaiete etdt ovat cin
-xed ef? «ieenit Leer eit? ad qu~-etem tledt at veimetar
edt qd nettizw sew "Histetodetie timo” ‘gafbeox dottgivoan:
me oy: ¥eods bevil-etw oe to tewellot OboYD eodiat

(80TI~080E ba trod 1 waters, + a

fs B80TOS @moo OF ree x Over fet ‘te sae ‘tin vol

eink babpeuie: teri? uw exawarttstd its te exrtostinios « Me rt

te te9% at tekor: stay moet eas ataey te abexbimnt sith me

VII--18

sei, which name is a contraction ef Ninnaji Seibei, invented
the manufacture of the Kyoyaki with the assistance of Kuhei
(Kyubei?).

Pupils of Ninsei, Sho-zaemon and Sukezaemon, were manufact-
uring at Oshikeji, and thus their wares were called the Oshi-
kejiyaki. Tekuyomon was a pupil of theirs. The son of Tok-
uyeomon was called Rokurobei, and the grandsons, Isabure and
Saburoyemon."

It seems these six people moved te Awata later.
"The present Iehirobei and Magobei are the second of their

respective families, but Seibei did not have any successor."

Origin of the Kin-yaki.

"The manufacture of this AS ag the China ware was alse in-
troduced from China. Its Kyote founder, Kuhei, get the secret
ef making it from Aoyama Koyomon of Sarayama, Hizen,sometime
in the Meireki peried(1655-1657), after giving his word of honor
te keep the secrety. |

The ninth year ef Hereki(1759) Rokubei Tsuboya".

Supplementary to the manuscript above quoted, a tradi-
tien says that Aoyama Koyomon of Hizen used to come up to
Kyote twice every year to collect the sales-money from
Tsunoya Kyubei, who was a big buyer ef his Hizen wares.
This Zyubei was so pressing in his entreaties ,to show him
the secret of making the Kinrand& ware of Higo, that at

length he succeeded in inducing Koyomon te give him a

Gf~-LIV chk
betnevat hedtel itanail te softosttnes 8 at eman doidw tse
tedu3 te sonstetees ext at iw ere edt te oxuirtos bomen edt
“(2 bedsrgt)
-Ttostunen few ,domessese bas momees-ode ,teaatll te afiqut
~fded edt bal las otew aoxew tied? avdt bas -thedided te gaits
~H#oT te coe eHT sented se s sew rene yrae T -fxeytiod
Soe ersdsel ,snoebmets edt bas _tedotuler bellso aaw eared
| " comeyorsdse
: total etawA et Seven siceeq xia oaentt anges tI
tied? te baeosa edd sis fedegell baa. tedotidel taegexq edt" <

",tezesoone yxs oved tom Bib Lediee ded ofl tmet evitooqaeer -

if . Hlay- ats sit Te nigiro | 4
~it oglg sew otsw enidd edt fe Sak cid? to etstostonem edt"
tetoee edt tog ,ledeX ,rebasot otogh efI endo ao+t beosboxt
omitenoe cos it ameyerse to someyed ansyoA moxt ti Pee any
tenod te row aid gaivig tette ,(8af-Geal}belxeq taletiet edd at
| | | s¥Setoea ont qean ot
avolisat teduxtot (801) teen te taed tote eat

-~tie xt 2 ,betagp evede tqitoavaen eft ot qataoue lace, i
et qo ese oF heas nesih. to, gone yox smeyos. tedt aysa moit
mort yeromeelga etd toelfoo ot 180% Ytove. soiwt etoyl
etsy, agatl aid to teyud” aid & @aw ory efedaya. eyonueT
aid wosde pt pestansiah aid wt guiesera 08 sew fedayi eid?

te tedt ,ogil to erew Bimetat® edt snittan Ab iesdes out
@ mid evig et momeyok guloubai at bebesvons ed ditgael

VII--19

written instruction on the art. Whereupon, Kyihed went
to Ninsei with the instruction, and asked the latter to
make some trials. It did not take very leng for this
clever and assiduous ceramist to finally succeed in the
manufacture of the Kinranda, the secret of which had been
so jealously guarded by the Hige clan. It was from Nin-
sei that the manufacturers of several other provinces ac-
quired this new method. It is said Keyomon was suspect-
ed by his clans-people that he gave out the secret, and
Was executed.

As it was, Kuybei and Ninsei shared the honor of intro-
ducing the Kinranda ware into Kyote, where all the facte
ories at Awata, Kiyomizu and Gegjezaka adopted the new meth-
od mn no time.

Wankyu mentioned in the Volume IV ef this book is the
Same man as Tsuboya vnbe? in this velume, Wankyu being a
contracted form of Chawanya Kyubei(Chawanya means a dealer
in bowls). It is said in Kyoto that this man Kyubei was
an expert in making dolls and statues, but his products
were not selling among a certain class cf people on account
ef the underhand transaction with Keyomon. Anyway, he is
said to have gone insane upon learning of the fate of the

latter.

Kyeyaki is the name applied to the early products of Ki-
yomizuyaki. Later, Shibuyayaki, Kematsudaniyaki, Seikan-

jiyaki and Otewayaki were all called Kiyomizuyaki without

Bets a

tnoy feduyt Moquetedy oc. oft mo soivouriant nett tow
dt zettal edd Sevee base waottouxtent edd Adin fteenit of
etdt ret anef yrev exet ton 515 tI -eleitt emoe exten
edt nt Beeoove yilenit ot ta lero atrorh fees hie aevele
need bad dotadw te texdea edd Shaeuntk edt to oxsboetenem
om tl mext asw vi .ftelo esi edd yd Sehtesa vlavolset OG
~O8 aeotiverg torlia ieteves te etet oxtonem eft ted? fee
-toeqasa Baw momoyeN bise af tI Reriyel wert eidd Serinp
has ,tetoee eds Rae ovea. od tact elqoeq-anelo eid yd Se
pane ay ae - .beduoaxe enw,
~owtat to ronméd edt berede fteanty hae todunk yasw ti aA :
atost edd Ife etetw ,eteyd otal etaw shane toit sit Pepe
-dtem wen edt betqebs avexofod bas gsimneyit ,stewA te eeite ~
| , semis on nk bo
tit at ood eidd to VI emmleV edt af bondkidem mpinaW
8 antec oyaneY ,omslov eidd ai todsy(t eyouret @e Meat enes
isfeeb & ensent aynewedd ) fedsyy avdawests +6 cvet Betoattdos |
eaw teduyt sem eid? tedt oteyl at biee ef tr “.(afwod at
etoctota bid ddd jesetede bus elton Suited nt ttedxe ne
tne098. no efqoeq to. eselo ataties & gros guilfes tor: oro"
ei .ed. ,yewyod somo yes ad iw neltoseue't baetxebas edt to
eit to otet edt. te Suiwtest wogr. onteant anog ved at Poy Me
stettel
-~iX Yo atoubotg vite eft ot betlars SAE eat al Saye
~aeaked dteyteabsatemed dkeaynd ble toted stile wa taoy
tuontiw toeyreimeyit bel {x0 ifs erow sangeet bas arity

VII--20

distinction. Very much like the Ninsei ware, they are

all finished in a whitish glaze, thinly laid and crackled,
much of the style of the Tamagode(Egg-shehl ware). They
are harder than the modern Tamagode and of a little rougher
finish too. The manufacture of these earliest Tamagode
ware must have been shown by Korean ceramists, who Game over

en Hideyoshi's Korean expedition.

Shibuyayaki and Komatsudamiyaki.
Abeut the Tenshe peried(1573-1591), the Shibuyayaki and Yoma¥-
“Budaniyaki were merely earthenware like the Fukakusayaki. It
was in the days of Ninsei that they appeared in the form of the

Tamacode ware(Egg-shell ware).

Seikanjiyaki and Otewayaki.

The Seikanjiyaki and Ctewayaki were first made in about the
Bunroku period(1592-1595) in the vicinity of Chawanzak&, Sei-
kenji. They were marked "Seikanji” and"8tewa". According
to some books, they: are said to have been started in the Ten-
she period(1573-1591). Anyway, Oteteku and Otewaya Kushichi
were the founders of them. The former lived in Otewa and was
sometimes called Rekubei or Rekuregaemon. In these days, the
hame Otewayaki was the more famous and so its maker Kushichi
was called Otowaya. After the invention of the Nishikide ovKtnamde
(brocade ware) by Kyubei and Ninsei, both Otewayaki and Seikan-
jiyaki appeared in a mueh impreved style, beautiful and charm-
ing and decorated with exquisite paintings ef the Tosa school,

sometimes as good as a regular painting on silk or paper. The

O8--TIT. | es
ei vort ,etaw Feani® nt wer: oun 1x0 »Moitoniters
beltoaro bre bial ylmidt ens detticw 2 nt bedeiatt rte
yed? |. . Ueter fheie~sa7)sbogame? add ‘te #tete ont to Hone
tedgro7 efsrit & to hos ehodaasT Avehedt oo? cad? «eben ore -
shogans? teelizse eaert? to otbtdetonem eit Lot Metakt
20¥6 enmes efw ataimeres meexee yo mrode mood evetl feom etew

Moittheqxe usetot e'Ideeyebia no

+ fAsyimebsatemeX bas. tdeyeyud tae |
~Janer fas tdeyeyrdide adi (LeGl~ENGL)dSoiteq-edeneT edt feds
tI. «iteysemiadel edt efit etawsertt ute sd iad stew. ideyinsbyél
eit to mrot oft al. berseqqe yest tedt fevalt te ayed ode nt eew

- ,lorew [feda-ggl)exew ebogemsT 4

loca Die ideyliaedtee

edd tuods wt ebam texit exsw ifayewosd HAE tiny taaattee oat.
~ Fed: its sin gawidit® +b etintede edd at (aeat-seaf )borteq trite ‘tose
amibreood ."ewotS*"hne "“Ehagdteé” extant eter yea?” (rtapet
-feT edt of Bettede weed svad of biee ets Yodt ,aslood semen ot
tdobdanY ayewotO bas mtotedO ,ysweak .((eaL-89el baited one
en” faa ewot0 Af bevil temret edt ~ .medt te ateSnsot edt exew
ei? ,ayeb sadae- ay . tombs Ro tintes a¢ Sadouet Settee Bemitenoe
FHoitdewR teslam ati o@ S28 exomet erent edt aew idsyeweto ened

shoatihn ebixiderl odé to mottaerat-edd <eftA ~ .eyewetO Beftad caw

~neXie® bse tdayetetO ated ,feaait fine tedimgt yd (exw cheootd)
~ertado fie tutitaaed etete sevexant dot & at Hotasaas ideylt
_foomoa saot “edd, to agatiaten ‘otteLupae de bee beteseovt bas got

eit wteag T0 dite oe galtateq aeivger | 8 ae boos 2s esa it soe

VII--21
preducts were none inferior te Ninsei's works. Sometimes
they excelled even the Korean ware, which was their original
model. They were counted among the best Japanese wares of
the period. It was from about the Kyoho period(1716-1735)
that the manufacturers there began to meve gradually to Go-
jozak&.
The wheel-made pitcher shown in Fig. 8 is a specimen
ef the so-called Otewayaki, about two hundred years old.
It is made of a clay ef the earthenware coler, mediun-
grained, medium hard, and of medium weight. It weighs
310 momme(nearly 2 2/3 lbs.) The lustrous glazing,
which cevers both the inside and outside except the base,
is of a whitish glaze, thinly laid and delicately crackled.
The green glaze is somewhat translucent, and very thinly
applied, except around the top. The blue has a little
darkitint in it, and is also used in a very thin layer,
like the gold and red. The painting seems rather too
beautiful and charming @& week to have been painted by a
regular porcelain decorator. It must have been painted
by a professional artist. This is such an excellent
specimen ef this sort of wares, that I do net think
there is anything that can compare with it. It is one

of my treasures.

Kiyomizuyaki.
The Kiyemizuyaki, a sort of the Tamagode ware like a Ninsei,

was being made from about the Genna peried (1615-1623), or from

£8-~1T¥,0 x4 ape

gent teane® atrew etteantt of rotretet enon erew atoub

~~
}

e.
+

Le

th
Bes,
re,
|

0 Bete eeaneqal tasd eis g0ome heasnes etew v
{GET (<8 L630 jbeiteg edeyt edt Syede “moxt gaw tI sbotteq
oie
nemlooge e wi 8 «ait inf swede redetiq aben-feantw edT

00 et2e¥ betbard owt trod: tie yore TO helies-@e ads te
—atben ,teleo stawnedttee edd.to ysfo s to ebem et #1
atiatoew TT silataw ne than f6 Bite oes. aekbem’ /beaterg
BAlsel[s enorterl odT (.edZ s\3 & {iisen)emmem O£6

,e2e0d ant gqe0xe sbietre brs ebbant ad? Atod @ISVeo dotdw

org

fentatto tledd gew moldy ,etew naet0N ent neve belleoxs yedd

hom

adv

-0°5 et elfesbaexeg over of seged exeadt ‘aretutvostonem edt. tedt

sof

Saliogts eletsotieh Some Blel vinidd yoseig deititdw.e test

faints crev Soe ,teoovlanett tefwemes ei exefian costa ocT
eltiil « ead epfd eft .qov edt bawetd tqsoxe .beiiqaes

~teval sind rev «2 ai bees wate at baa .tr ak tott ire

eos tenteat amooa ankiaigo, ed? ex Soe Slog ett oft.

es wd Setaien gpesd oved ot teow @ anintedo base [otituaed

betaried mood. avead tepm oT stetetooes aisleoted taluget

tneffeoxe ae dove ee ata? tetdos fenoteestorg # vd

inidt fon ob I Sedd eater te d1oe etd te memtoege
; ong ten pee (
eno ef 32 th gtiw exuqmedo ceo. Tadd saiddyme at ered?

aereeetd yo te

tkeysisEseyss | |

\

teat! « stil stew ebaganaT eft To tide @ ,tieqwataoytd ad?

mort ‘to (88af-arar) boitey sane? ed tuada: moxt eban gated 2a

12

iB

VII--22

Keicho(1596-1614) as some other books say. They are mark-
ed"Kiyemizu". It was from about the Meireki period(1655-
1657) that the manufacture of the Kinrande, the invention
ef Ninsei wah ibe t Wels started there. Abeut the Kyowa
period(1801-1803), Yebiya Seibei, another famous ceramist
ef the modern age, was making some tea-utensils at Kiyoemi-
zu, below Sannenzaka. It was under him that Fisen and Ro-
kubei studied the ceramic art. In the second year of Bun-
- kyu(1861), Yebiya Yahei was manufacturing at the place
where the old Ninsei furnace was. Yebiya Masajire, whe
lived on the opposite side of the AO LUCE, on the eastern
Side of the street; moved te Gojoe, selling out his busi-

ness at Kiyemizu te one Mikiyama Denshichi.

The wheel-made tea-bowl of Fig. 9 is a specimen of the
Kiyemizuyaki about two hundred years old. It is made of a
greyish white clay, er rather a mixture of clay and kaolin,
hard and fine-grained. It is medium in thickness and
weight, and weighs 90 momme (3/4 nore t The thin glazing
is greyish white, crackled and somewhat lustrous. The
design in in red, green, and geld, all very thinly laid.
The red and the gold are not very lustrous, but the green
is very strong ef lustre. This latter glaze is not so
aneeth in appearance as the other two colors, pdt it is
somewhat translucent. The base is not glazed, but the
bee has some irregular wheel -marks. The stamp on

it reads "Ninsei"™,

‘C2 5E TY

tte ore yell “Swe etood tedte enon ae (aTOLdeaT odolex
~J80f )delt6q thertet et tuede Gext saw #1 ."ostmeyiybe
aoltnevat eff ,ebaecitt odo to sistostuoem eft Tedd (Yaar
eveyi edt inedA ,oved? Sstrets dew, fedeGi-Sdsd Leanti to
taimeateo esostet reiteds ,fediet ayidey , (806.L~LO8r }botrtedq

~fmeuin ¢e e@ilanets-eet ses grited eaw ,ege arohem edd te

“Of Ste meet’ tecdd mit tebes eee 71 -Sngsnonsst woled , oa:
~x0f to taey Saoote odt xi .t%@ Olmerao edt belints iedsw

goata oft. te gation Terccasn gow ternaY eyideY ,{ laelisyt
odw ,etiteeet avgideY © .aew edemivt leant ble sft atedw
azetess eft co. tentetT eft te shia es iaeqce ed? co bevit
_etend wid tye caumiifeé. ,etet.eF Bevom. gieexrte edt te abies
ais ot sRigeylt te. eeen

oft te memtosge « af & ,9h% te Lwed-set eiam-leoily ox?
e to eben ‘sl 2) «hiv. eteey. hbethigot ewe Huede ideayusine tia
otfoat bow yells to etttatiat 2 tedtar te ,yelo etinw deityezs

P=
~

foe eeonkeint af metbem et ti herkars~eptt fie brad
ghitsaln tat eT (sdf BLS) enon -0€ gigtew base etigiew
eat _avondert teatinenca Boe frefsosrs ,etitw sabyers et
-btel ¢flata? yer ile. bles bee... nets. bert at gt agtaeh
tee ts ‘edz got eroragT een JO Oke Sioa eft bite Bet eit
oa ton et eters ae, ate? ~~ yomtass t¢ guetta. ytev.et
gf Tt S76 ~etoloe ort fedte ent oy doveTaoqqw me dhovms
ett tud ,besale t¢a et ated edt . wee orl ete tt tacivedog
co quate edT a actaete ‘Teesie telirge tt eueg ash Litdedt
; ."beanth" ahaet t£

.

Vii--23

The wheel-made incense-box of Fig. 10 is another ex-
ample of the Kiyemizuyaki, also about two hundred years
eld. It is made of a clay of the earthenware color of
a greyish tint, fine-grained and fairly hard. It is
medium in weight and weighs 47 momme(2/5 1b.) The glaze
is greyish white, lustrous and created: The design
is in gold, very Shiny aaa. The bottem is not glaz-
ed, but has the stamp "“Kiyomizu" on it. Of those having
the "Kiyomizu" stamp, the best are mostly works of Yebiya.

The wheel-made pitcher of Fig. 11 is another specimen
of the Kiyemizu ware, about a century and a half old.

It is made of a light earthenware color clay, not very fine-
grained. It is medium in its hardness and weight, and
weighs 360 momme(3 lbs.) The glazing is creamy white,

thin and crackled. The cebalt blue and the green of the
design ane lustrous and heavily laid, but the gold is very
thinly used. The coating is almost entirej the bottom
being the only place! wives it is not fplazed. In.a way,
this beautiful piece has an appearance as if it was made

by an Otowa artist. .

Gojoyaki.
The early Gojoyaki, which was started about the Kwanyei pex-
niod (1624-1643), was only a very low grade ware and was hardly
known. But when all the manufacturers of Otewa moved to this
place, curing the Kyoho period(1716-1735) and those of Kiyomizu

from about the Genbun period(1736-1760), the products underwent

3 Vag i rae ce

-xe tediens af Of ,3it te xod-exneoai sbhem-Leetw edt
areey berhcud ows trodes oale tteyusimett® ont te olqms.
to telos etewtedizas ef) te yelo # to eben et. 41 ig Ee
\@t.ol.... b1ed vlttet bose beatexg-enit etait dalvers &
exefy eAfT (df @\Siommen TD eigtew Soe tigiew of muibem
agiseb oat -bofvougto Hire aso ttastl ,etigw deliyexa et
aagig toc-et metted ed? biel yfnidd pret fog ni ef
aiivad ecodt.t0 tt 19 "ozimoyke" qaiste eft ead tud be
weidey:te eafror Ultaont eta teed edt qiuete "ga tmoevii"” edt
remioeqe xodtome at [bgt ts tedatta shem-feedw edt |
bie tied. « bas yruines 2 trade ptaw ps ineett ont ha
-enit vrev ton ,yelo teleo orewneittxse, tit « te eben at tI
bos ,tistew bas esecbiad ati of meibem af ot bextetg —
,etidw gugeto el .gaoiasig edt .{.adf S)samom OOS edgtow
edt te meetg edt Bax egid tladeo ofT .beldosto baa sidt
grovel, blog. edd, tod ,bisl tlivesd bits amoattast. ote nated
mee ree edt +fextine taomfec et- gititess ent been states
"yew @enl,..-.berals ton at ti erede sale yine edt anted
eben aawi ti ti ae, eOngtesqqe ite est soctg Igthtueed aldd

hs eee Jeitte swosd ne yd

txeyeteod
~fOd souenne ent, tirods hetreté sew dotdw,,taeyoted “— ext.
vlhted asw bas etee eberg wel rev « yiae aw, (BBaL-S80L)boka
atitt of bevom swatd te eretstoe tiem edt, ie modu. tue, favorit
uaimeyik to egedt baw, (a8Vi-atVL)bolred odours exit gate soalq
tnenrebhas etonbetq efit {0a E-3 a80L) bolted cussed ant taede mort

VIT--24

a great improvement, and beautiful wares of various descrip-
tions were being made. Then, in the Temmei period(1781-1788),
Eisen started the manufacture of a stoneware there, in the manu-
facture of which Kitei, Yohei, Dohachi, et cetera, were disting-
uished artists.

When the O@tewa artizans moved to Gojo, they began te call
; themselves Otewaya so and so. Prier to this time, they had
often Bel called the surname Otowaya, but it was not until
after their removal to Gojo that they themselves adopted the
surname.

Yebiya, the ceramist: of Kiyomizu, moved to Gejo in the
second year of Bunkyu(1868).

“Kitei Waki, was formerly a retainer in the family of O-su,
but when his service was dispensed with en account of an in-
significant fault on his part, he came to Kiyomizu and stud-

. ied the ceramic art. In the first year of Kwanyen(1748) he
epened his factery, and in the fifth year of Bunsei(1822), he
started the manufacture of a stoneware. Kite was his young-
er brother. The present Waki is the Hinth head of the family.
Only the second Kito used a stamp.

Yoze Mizukoshi belongs te a little later period than Rok-
ubei. ones he was giving lessens on the ceramic art inthe
prevince of Awaji. The third and last Yozo died about twenty-
two or three years ago.

Pohachi Takahashi, a pupil of Bisen, used to live at Otani-

mae Nishiechiche, but later he moved to Busshi Nakacho. Before

AQEETV yeaa

~qivessh anctisv t¢ getew Letiteaed fine tesaevetamt t29TR 8
,(S89L+ LONE betred bemiet edt ath cae haat otied-erew anol?
-soe0 edt ot joerendt eraweneta 2 toetutostusan edt \bettete teeis
-guitath-exew ,eteteo tq: ,tfosded ,hedeY ,lett dotdw te -extost
| atattte dedais
{feo ot aeged yet! ,oted ot bevem enesitis swot@ edd nodW
Bed yedt. ,emtt arasy of LOLTT 50a: Soe on ‘eyawedo ‘gowleusenit
fituy ten enw ra tid puis eieitzee db pbatten good .wetto
edd Bbstvehs eevieumens ged? tact ofed of Levener<ciedt cotta
% . i \ emgmrire
edt at eted.ot Bbevea atmo TLE te weatme res ‘edt aera ae:
s(Sae@L \agdand te: 0% 5aoova, -
wa+O To “ee kaiat” ods sak tonkudbet & vixenrtet: eaw ~taeW bet ia >
«ct ge te dnycooe ae déiw beentec yelh. daw eolvres eid icedw dud
«hota Doe otimeyit ot enteo ed ,dteq eid oe tiest treo Stina te
oe to «teey textit etd x roe Ofawre0 jent bet
(9880) deanae t6 many MIT It edd ob, bose trotost eid ‘biide
~Bryoy eas aew etit eteventte 2 %o eutesetsnan oft bettate
+Viimet ent to peed abate eis wf bist ineeerq. iT soddoxd te
«quate # boas: os £8 freoen edt vind
~Hor uae boize tetel efitil 2 o¢ egnoled tdeoxue tM ener
efint tte otmerso sdf mo, exosbel gtivig sew ost eon kode
-utnowd tyods Bélb ex oY) tasl baa bridt edt sitewh To eonmkverq -
| Te 0 Loge eeset eetdd te lewd: :
~Enat® te evil ot feas ound te on & ideedacdeT Enosdtod
etotel .odosdel tdeend ot Bevan oa tetel tud odo idootde it ‘ihe

eee fs fe Sr Fig
Am sh aM RYE «ey uy

VII--26

allowed te change his name inte Mashimizu from Shimizu. He
died in the tenth year of Meiji(1878).

Rekubei Shimizu or Kiyemizu, was born at Miyagawache, but
used to live at Kiyomizu. Hence his surname Kiyomizu or Shi-
mizu. Gusai was his "ge" name. Later, he moved to Yeshi-
nomachi, Gojozaka. At first he was a pupil of Ebiya Seibei,
but he was studying for sometime at Shigaraki alse. Seme
of his works that have the "Reku"” stamp were made while he
was at this latter place. He was an expert in the choice
ef the clays, and so he used the best of the Shigaraki clay
for his goods. While he was at Kiyemizu, he used to mark his
products with these stamps ¢ LEB: which the first one reads
"“Kiyomizu"” and the latter Ta Kiyemizu Gusai". After his
removal to Goje, his stamps wer ey, () . all written by
Priest Keishu, of Tenryuji, Saga. The first twe read"Sei"”
er "Kiye", and the last one "Seifu". He also used a es
like @), personally made by a Prince Daibutsu. This
noted artist of the modern peried lived from about the sec-
end year of Genbun(1737), to about the tenth year ef Kwansei
(0700) > earth franks reece as a rule very. charming and beauti-
fuw

The second Rekubei was making his stoneware from about the
first year of Tempe(1830), Nearly thirty-three years age, he
was dewn to Nagaeka, then te Hiuga about thirty-eight years
age. His stamps were Like GZ) 4) all reading "Sei". He
was living te the first year of Manyen(1860).

The third Rekubei, who is still living, rses @®@- stamps

_ 8B+-1E¥ tees nots

ef a imtae moat uLinidasm etat eur a bel eaneto ot Semetoe.
| (OVAL Et bow 10 tee dice? add oi beth

tard shoevegeg il ta tod @aw. ,vsimevik te gatmide.tedintef
~id& te satmexeX emenive ein sonel we bmeyix te evil.edt bees
~idaeY ef bevem od toad + Omer "9g" Gis sew tees) ~it@ Len
red le®. eyidaz te Liang 2 sew. ect vetit tA +8820 (, 00 _ tiloamone
onet 0ale ttetegia&® te emitiemee «tot salghote ae ed oud
ed olidw ehet exew qite ts "esgi" eid gail tects: aco etd te
eotedo add of Jxreqxe oe eaw af -o0elq tottal aldd. te ean
yelo ineteg ide edd to teed sid Nous od. ox baie ,eyslo ott te
wid wxen ot been od waimevixt te aew of afitdy wahoos aid teT .
abaet ¢a¢ varit edt dotdw te]? a) G4 yeqmeta eden? tin! stouberg.
if tettTA - "teen vatwe Pa, totielt= sd? Bos "se hoyle -
vd nettitw ihe & Gi). deren aqmete aid. ,oted et-tevene. |
"Lac" baer ows Jatit ed? sagec i huytaer %< ~udeted dgasixct
atediea fear oie 9H. ."stle@": ene fast eis Dra. Menke ~~
atat etud ial ‘ponds? ono vd oham uw Lemeated & out
~998 eft tuoda mart Seavit belive ft9 bon eft te kettx0 heten

: foanewh te’ Tee finat edt tuoda ot (TENE laddned t6 xtesy Sao

~ eaed Bre antares Grov elit & as oxew sitew ell +1 BOVE)
coe E fe . ee » Lert

edt trode nxt exawenete aid acizan sew tedinieh buooea efT
ei ORB ateey sorts -yiuidd ‘lteek + (GS8L equal te teey derit ‘
BTEOY diigte-ytzidd trode gant ot mods. silowgall or, nwob- BSW
eH. ."iel". gnibset Ils OOQexu: wiow equate eit ee
eae o(086llaeyseM to teey textt eid 0? gatvit. naw

sees . GF seen »gatvEL iitte eal iaduated edacied eit

VII--25

he started a factory of a stoneware somewhere: in the manor
ef the Prince of Omure in the second year of Bunkyu(1862),
he is said to have been studying the industry in the factory
ef Hezan of Awata, with his brother Shuhei. In the forty-
second year of his age, he was made "Hekyo", and changed his
name inte "Ninnami". No less than three times he was down
te Takamatsu, Sanuki, to give instructions on the art to the
lecal artizans. It was frem this Dehachi that Shigehisa
Gennami, tea-master of the Satsuma clan and the founder of
the famous Kinrande ware of Satsuma acquired the manufactur-
ing precess. On his return te his native province, this
Gennami built an Awata style furnace and set out in the man-
ufacture of a ware of the Tamagode where of Awata, getting
his materials frem Dehachi. But the glazing of this Satsu-
ma ware was not hard enough as te compare with that of its
Awata model. When he was fifty-seven years old, Dehachi
built twe new furnaces at Heriuchi, Fushimi, one for regular
wares and the other farmeeces for’ Rakuyaki. They both still
exist. He used a stamp reading"Momoyama". He was seventy-
three years of age when he died in the first year of Ansei
(1854).

Ze-reku Mashimizu, descendant of Shimizu Cennyomon, was a.
pupil of Kitei. He was born in Gakumura, and breught his
family inte a prominence when he was only twenty-three years
eld. His earliest works were mostly earthen pots. It was

by the gracheus permission of the Prince Daibutsu that he was

ie a

act oe oxuneaeiais,20 qrotoa’, & bette a

aah

ronan ett af Toei 3
“i Sdel )syataws te {89% haooee ost et exum te ponist. edt. ‘te
Yrotort od mi yxteubat edd garybote aed eved of bies et od
~ytror edieval . stedud® sodtoxd id-dttw ,atewA. te nssoH. Yo
eta. begteds bina oyton™: oben saw od 4832 aid te santite: haeces
tweb asw ed gemid eet, sopett: one! en "Learn" avnt omen
edt et tts, efd m6 enottonttzni evtq ot _ toe? veteasde? ‘ot
saidegide stadt fdosted atdt dext eow #1. vengattts feoel
to xtebarcot edd Sas. metle emvada® elt to redaem-set tmened
~tatostonen , oft bexivpos ammate® 20: e%e% ehautait avenet” elt
eidt ,sontvoxd ettan aid.et- meotex-¢id: a0 -apeeoetd york
-tan, sit nt tue tea Soe soanitut elute etawA ae tfish. Lenco?
gaittes ,xtawA to: efyta. ebosemeT edd to orew a. tecesuitosts
~sate2;atdt te gninety odd tam... .tdoaded ork einiredamate
sti Te tent shia) eaawen at aa dgroxe Stet, tom aew oxaw am
» ddoadod, ,Slovateey meves-yst!t ine ec. aed? _,febemsataws
taloget tot exo fattest , tdowtzo? ts acosmiyt, wen owt tLtnd
{itte dted: yedt - bieywded et soonesst toile oft bos getaw

-ytuevee eeviok:, Mane yenol"gatbeot quite = boas ol ~teixe - "I
| Geank to: raspyventt: seid mt; bobs: od seit. Sgevto wtsey eonit —
ae aR ae ee ake Sita sipeerh
: 7 ‘bor, momoynmet wR imise te taphmeoaes \waimbtans wie2-02
ald tiasord Saw. eruminteR a sted. ex of yo tee ede faa

Road ante eth tt ee

VII--27

a

beth written by Daike-esho of Kobai-in, Daitekuji; 9 en-
graved by Rissai, Hikone; or fa pa , written by the artist
Hakuryu Yenezawa. His werks, like these of the first, are
very charming. His furnace measures 12 feet by 40 feet.
The heavily built wheel-work tea-bowl of Fig. 12 ia a
specimen of the first Rokubei, made after the style of the
so-called Tejinbue made at Hagi. Of course, the handle
is a hand-work. Theugh very heavy in weight, this piece
is made of a clay of the earthenware coler, very soft and
rather pereus. The weight is seventy-twe momme (6/10 1b.)
The somewhat lustrous glazing is of the earthenware
coler, roughly crackled with deep brown lines, and fairly
heavily laid. On several places some white spots are
noticeable. The stamp under the base reads "Rekubei".
There are OMe brush-marks around the base, which latter
has a few cracks. This cearse looking but charming
Biece is about ninety years old.
The wheel-made Katakuchi(side-mouthed)-bowl of Fig.
15 is another specimen of the first Rokubei, made after
the style of a coarse-looking Imbe. The material clay
is of a deep chestnut brewn coler, GOarse-crained, of
medium hardness, and not very heavy. It is not arti-
ficially glazed, but en account of the natural glaze, the
whole surface is variegated with erey, black and brewn
Spots. The inside is mere of a rusty coler. This
natural glaze is lustreus only in spots. The mouth

is net evenly round, but as a whole, this is a very

Bees 4 ie

mite et pitmdlediead jnt-Leds® to sdeotoxted yd nesdrae ated
taityve “edt vd mettiaw , ea fry) =° ;eroxth teaatt {d bevets |
ere ,tetil edd to eeedt exit ,etvew ei .awexeneY pytiiel
) ~Feet OL xd eet Sf egeryesem ecemtet «ik .aetmtedo ytev.
2 ai &f ,3it to Lwed-set atrow-leetw ti itd ¢iivesd® et
exit te eiqte eff setts sham ,fieduvet terltt sit te wemtoeqs
| elhned ont eatbed "46 sige te ebam end ‘mE tor fertes-o8
eostd- atdh tdagiew ot weet vrev dgied? — .axéw-basdt 2 et
bus vies yiev ,t9feo etewasdites eft to yalo s Te ebwa. at
Sa: f 2 Ors Yeamnem ew?t-yineved ei tdgtew ef? ~ lerevec peithae
etaewnenttiss eft To et guteety asetten!l tedwemes sit
viket bus ,eenil swerd geeb dviv Bbefxoe1o yinguet ‘getes
ota atone etkiw etied geeala feteves mo © oBaet Yiiveed ~~
',"Eediied” @beet eased eit sebar qasta ofT eldseotter’
setiel dotdw ,secd ett - Savers extem-dastd arog ete etedT
gniorredo tad gititesr: shtmeo chit .uvoean wet a anil
blo exrsey renin trode ai sostc
-3it to fvod~(bedtnom-ebie)idsixede™ eham- leery 2 ea
tsites ban , Ledeen taxi? edt to nentowda redtedte at “EL
yelo Inixetem eff”. , dnt gattool-sttaco gto efgia es
56 | Sbaloeasonxaer ,refeo awoeid tunteeds qeeb 2 to et
~ Ebi ton ef tf .eveed trev Yon base geeueast deta
ous exalts teusten ont te dnneooe ge fuc ,besafs eitekort’
aword Soe Wosld ,cers dtiw botegeluey ot eoetxse -elodw
aint ‘nofes Yterv's to etom et eitintt eat letora’
dsnen eat ,sdeqea ni tino awoutent at esate fevutes
wrev'a ei ett -olodw ¢ ee tao bran Yloeve ton et .

“FT Teas8

charming example. It weighs 35 momme(nearly 3/10 ab.)

Hisen Okuda, otherwise called Rikuhozan, was a pawn-broker,
whe used to live at Daikumachi, off Kenninjimachi toward
Goje. He studied the ceramic art under Yebiya Seibei.
He was a very generous and charitable man, and his workmen
were s@élected frem cripples ef ene sort or another. The
blind were employed in grinding the materials fer the glaz-
ing, while the mute were used in applying it on the works.
Most of his preducts were made after the style of the red
Chinese or the sometsuke Gosu. They are very seldem signed
but the few that are signed are marked "Hisen" either in red
er in blue, or more rarely with his written seal. His works
are the very first stone-ware made in Kyete, and are very
ata like a real Chinese original. Mokubei, Dohachi, Kame-
suke, and Xasuke were all his pupils. The factory at Miwa,
Mita, Settsu, was started by his pupils, Kiyu, Kumakichi, and
Shuhei, whe were sent by him at the request of one Uchigamiya
of Mita, whe was desireus of encouraging the local industries
there. This factory is very prespereus new. Eisen must have
‘lived from about the Genbun period(1736-1740) to about Kwansei
(1789-1800), and his stoneware was first made about one hundred
years age. His furnace is said te have been in the style of
an Awata furnace.

_The fire-bowl of Fig. 14 is an example of Rison's works,

made, after the styye of a™red decezated Chinese", made of a fair-
ly fine-grained kaolin,’ The glaze is rather cleudy white and

dull of lustre. The pink is alse dull of lustre and very thin-

8Se-J3¥e is ae

tad OL\E- vireem) emmon a& edglew Jz _seLomaxe aitarsedo.

, tesexd-0Wad) 8 sew ,meseduatt befleo salwredte ,sbhirk0 seeks
hiswed tdoamtbahane® tte _ idoemma ted te evil ot bean odw
_,iedbe® aytdeY rebas tte oinazes edt betbete eH . .eLod

reas<ow ald fine nem oldetiisde bos ereteneg yrev & eew. off
ent s‘tettens to ties one to gelqg ito me rt hetoofda ‘exew
~aeig ent rat alativeten edt gatbnits al heyelane stew, baild
eitew eft no ti gxiyiaqgds aL pees svew etm eft elidw ,gnt
abet eft te elyta add sedi sham etew etoubotg aid te taol
‘Beate mebles yrev ers yedT . 1200 eivatemos adit 10. esemidd” 7
bet ai yedite “seala" hex tac ote beangie ete ted? welled? ted

extew eik.. .laes netdinw etd aviv yleiret eren Te .outd. tk te

yrev 6%. boe ,eteyt al eben eotew-enote Jarit rev ol? ‘ae

=emed sidosiod ,ieduxol -fantgite eeenis® iset g exit oss
ae te qrotogt ed? .eLiquq eld ile exew elveal base ,erlve
bre ido ixemoh quyid ,@liqugq eid. yd beltete, Bay ett 92 at 1
stineagidol ene te teenper ods ve. mis xe ones e10%. eAw "Pectin
~eelitenbat Igool odd gaigetveone te evoxleed B.8W od yet iit to
evant tasm asela .wes auereqeotd yxev gk grefont eid? , setede
fesnagwi Fueds: oF (QOS L-380L)boizeq sd aen edt tueda mett Bbevit
berbard ene trode shew. tetit sew orewenete std Sng (008r-e8rL)
to efyte edt ai meed eved ot Bias ei Soantet stk .9g8. Btsey
et ge) Pees te Vins eee g@Oents? atews oe
atiow aural te slemexe: se at df +aiT to Iwod- exit. ot) |
-tiet ¢ To obsm "seonidd botusenes bex"s te eigie sat sette eben
big etidw ybeeto tediet et. esela oft. at foot bomtwrg- oti? L
wn idt wev bas extant No (imb eele st antq ef? eaemeth a2 fib

VII--29

ly used, but the green is lustrous, translucent, and fairly
heavily used. It is heavy and weighs 103 mome (about 5/6 1b.)
It is rather coarse leoking but very sharming like its Chinese
original, the red decorated Gosu. It ia about one hundred

years old.

Mokubei Awaki was popularly called Kiya Sahei. Kyukyurin
was his "ge" name, but his real name was Yasohachi. He was
born in Owari but used to live in Kyoto, first at Kambe, then
somewhere near Sanje. Before he began to take fancy in the
ceramic art by reading a Chinese book on pottery written by
shusatei, he was a priest in the Nanzenji temple. He was
well read, and very clever in several little arts. After he
studied the ceramic art under Hisen, he used to make copies of
Korean, Chinese, Cechin, and Nanban wares. He used twe stamps
en his works, one reading "Awata" and the other reading “"Mokubei".
His Kyote factery was at Komonezachg; Awata, and consisted of
three sections about twelve feet wide. His Tokye factory was

at Komme, Mukojima, near the Daishi temple.

eS-TI¥

¢Ptist Soe ,desosfenatt ,edevtasl et neers ond itd bean yl
bidt aye serode) eiten SOL adatow ‘nine vide ‘ $i —».bead nitesek
. Seentdo eth efit grtorteite ytev tud gatveel suteso tediex ef +1
Sexbatct sos teoda af $1 Ween Saveveted earns tealyite

bf eteey-

atisyeryes fetes avin Seflus ¢ltsLligeg aaw SfawA iedstem
vew oH _tdoatousy aw etme feet efi Sire, ome Veg” atid aay
cect edmad ts tatit ,etege at evir of Beas ¢ud tuewd at wrod
aft nt yoret exes ot roma eck exreted ~ottee ts98n exediemon
yd nettitw yxretteq mo deed seenintd a garthzet vd tue olneres
Sew. oH .eLoniet t(nernest eft nt Tee izq & @aw of tedewsdte
od tet%h “acts eisgil [areves a? xeveto vey Dire baat ifaw
te eetqeo etem ot bean si ,aeett tobny Pts Simates Sad betoute
aqmeta owt heay eH ,2etew prs! mee bua. ,xth609 \seonid®d “agores
"LedinteM” aatheer xodte ef? ben “glewA" saniises one ,aixow etd no
to bevetaned at ,stsvA ,qtoeuonenst ta anw. pretont etevd eit
eaw Yietoxt opie? gilt lebiw test eviewt.dueds asoijoee eoxtt

colgined tHe ted ‘sid te0t ,authodstt ,ommex ta

VII--30

The wheel-made tea-cup ef Fig. 15 is a work of Mokuei
made of a mixture of kaolin and clay, medium-grained and
not very heavy. The ground glaze is lustrous white with
a slight suggestion of light brown, and cearsely crackled.
The red is alse lustrous and of a beautiful shade. The
Gharacters are very nicely written. This piece is mark-
ed "Mokubei"™ under the base. It is about eighty years

eld. It weighs 17 momme(1/7 1b.)

Awataguchiyaki.

The origin of the Awataguchiyaki is said te be about the Gen-
ki(1570-1577) or Tenshe period(1573-1591), but it may be a little
earlier than that. Anyway, the earliest goods wens a natural-
glazed oiciieemate ie like the Fukakusa ware. The so-called Otaka-
jawan, Which were used in the Tokugawa family on the occasion
of the Shogun's hawking day, annually bought of Yebayashi Kichi-

bei from the days of the thira Shogun(1623-1650), and later from
the Iwakurayama manufacturers, are a pinkish ware, made of the
Hioka clay of Awata, slightly covered with a water-glaze. This
eléest sort is called the Awataguchiyaki even diate and it is a
very charming looking ware. But, after the furnace was moved

te Awata, the preduct is called the Awatayaki.

Awatayaki.
The origin of the Awatayaki was in the latter part of the
Keiche peried(1596-1614), or Genna(1615-1623). The name of
the founder was Kuyomon, whose works are a Tamagode(egg-shell)

ware, like the Ninsei, painted in blue and brown, and much

Lemiom te at0W * at ar att te quo-20d ‘eben Loodw oat ;
hak hentartg- aur bait wale bas ai foad to orutxim € te soe Sat
dtiw etinw averseu RL: etelg bawe'rg aa greed: Trev fos.
shefltoato Tea tage bas “sword tat! to aot teegaue tdgite a
eat shart Ivtitueed & te bine evettent eals, Bi bax ot?
~atam ei eoeiy etd? edd Pw teats, YIev ete atetoetadts
ini tideate tuoda et at ened ed? sebag. "Lecudok be.
| A, OL 1\ Peano st adgiow. $1. .5Le

-bigyidongstaws 7 Or iac me
~ 200 ‘eit tveda od od bisa a rieytdorastews odd” te. aigixze ell |
eltttl s od yom tt tod {£06L-8°8.L)beireq stiane?. x6 (w¥ag-0%8 tba

~fertrten s asew aboos- teei fre eid TSW stadt nedd Tolizee
~B@ABTO befino-es edT etaw ‘samiledeT edt ox tt oxsmnaditeo boasts 3
nolegove ody Re rhimat svegsio? eri at - beaw erew doin waeust
-idoit idesyadox te tdguod we Lessee Teo gaiaiwed e ‘argo ‘edi to ~
j arorxt ‘netal bane (0aal- -Sa5 Ergon bubs ‘feats ‘te ayes oat mort ted

ent to obsat ott, fabiate & ors | stemmtostenat exsvstunient ‘ont.

eit senelg-r0teW ry ddtw boreveo vlitatte stems to, ysio slot

8 atti bas Wor seve bsaightongesews ett elise. er ‘fi0e feeble an

even esw eosntst. odd rotte twa xeaen gatiool gaisredo wry.

_-Hiowatamh ext Sef tan at goctorg eft stumk oF

VII--31

harder than the medern ware, though net se smooth in appear-
ance as the latter. Very rarely they are marked "Awata".

The place, where Kuyomon used te get his clay, is still call-

ed Yuyomennotsuji(Kuyomon Street). The old furnace, which is
called Ohiyama furnace or Hengama(Original furnace) is in Komo-
nozache, Awata. It consisted of eleven sections, but only nine
Sections remain now, each about 15 feet wide. It is not im-
prebable that Kuyomon himself had some of his goeds baked in this
Awata furnace. This eld furnace was owned by Kinkezan Kobay-
ashi Kichibei until the fifth year of Ansei(1858}; when he sold
it to another man, from whom it was again seld te Yasuda Kisa-
bure, the present owner. Then, there is anether eld furnace in
a much shattered shape, about 3 feet by 7 feet, in Wakegiche.
This is supposed te have been used by the first Hozan. Any-
way, Awata is tm the place where Ninsei invented the Nishikide
ware, in about the Meireki period(1655-1659). This Nishikide
was being manufactured in a more perfected style in about the
Temmei period(1781-1788) by the famous ceramists Mekubei and
Kyuta. These artists also made the red painted, the cobalt-

Mrastles

blue painted, the Tsuishu(vermillien}, the Chinkinbori, Kin-

acl

kezan, Taizan, Hezan, Iwakurayama, and Hayes yank Ere! she
names a hstae! Canvas artists there.
Taizan, Takahashi Yohei, is said te have come from Mizero
in the first year of Shohe(1644), according te a boek, but it
Says in another book that he came frem Oshikeji in the third

year ef Sheteku(1713). Anyway, he lived in Awata about two

hundred years age. He used two stamps, one reading "Awata"

stesqae gti ttoome: oe 5 tom dees. sete sehen oat add rebted

| »"atewa" bexton sts Yodt plexes ere : stettal edd ag eons a
~[feo Lftte. ak tela: aid 93 ot Bees sens qok oxedn sosta ‘eft
el doidw donde bie. ed. tteette nese oX) ELsratonmemoys be.

~omod af ef (oosgist isntgix0 amano! fe) sents sate gid belive

ena Yine tad enoitoee nevete te betetenoo tI .atswi jodossen ;

amt ton of tI. -.obiw teet ef duos dose ,wos fleney anoitoos

aixt mt beved shee atd to smoe Bast’ tleamtsa contoyex tad sidaderq

~yadod nesetatx yd beawe saw sostitt ble eld? ,Gosmit sieus’?
blez of nenw 4(886L)ieanA %¢ teey ddtit edt Epdiair tedidold ines

~seiN shvesY ef Sfea: ntage aew. tf moriw tort fan settane ot th

ak sani’ hLe Tedd on ek oted? JteadTt. “tenwe taeastq ont | oak

ocotgede® a test y we teet & tuods +oqade? boxetdteda: dorms -

~ TRA | e808, tat add se fear need evad od. Seaoqnare at. atat

OS ft ide it adi bedaevat feat ortedie evel ont. at es atowkn yew

pbidigely ald? -0¥88.£-4880)be2t09, hiectet odd trode ae: ee

bile ext tne ds. out’ orgie, betost req orem 8. mt betwtos tenes guiod asw

bue tedeniot ateknetso. ‘exromet ext: Ae {O80E-[etL)berxeq Ponte

a tledeo ont betntaq: bet edt eben ols. atettr exod? 5 aint

sity ixedadtatad, nity (aenichorsow ase twat oft, botatag ontd

Gas Naa one one: ana lana Sue. sane unianl: ene ieee mex
u as ocawriltvat ate awonst'e

Hi
“a
eal

VII-~62

and the ether reading "Taisan".

Hezan, Unrinin Bunze, came from Kinose, Shigaraki, of Ohmi;
but seme books say he came from Mizere, while still another
eae ces ive came frem Oshikeji. It was in the third year
of Man ji(1660) that he built his furnace at Awata. He died
in December re the thirteenth year of Manji(1670). The name
Hezan was first adopted by the suggestion of a nun in the Ike-
mahoji of Yamate in the secend year of Hereki(1752). It was
frem the time of the fifth Bunze that the Akaye(red-painted),
Ruri-gusuri(cebalt-blue glaze), Tsuishu(vermillion), and Chin-
kinberi(engraved and filled with gold) were being made, genera-
tion after generation. Copies ef seme Dutch wares were alse
being made there. All these wares are marked "Hoezan". The
fifth Hezan died in the fourth year of Bunkwa(1807). The
present Hezan is the eleventh one ef (Kab mene.

Higashiyama Hattori Chubei was born in Awata. The present
Higashiyama is the seventh of the family.

Iwakurayama Mur Qi Raku ix said te have come frem Mizere, but
actually he came frem the nerth Iwakura about the Horeki period
(1751-1763). He used a stamp reading "Iwakurayama", the name
of his old place. He was making seme wares similar te those
ef Kinkozan,fer the Tokugawa family. In the days of the third
Shogun(1623-1650), Kuyomon was the special manufacturer for the
Shogun heuseheld.

Kinkezan Kebayashi Kichibeiis said to have come frem Oshikeji
factery and built his Qeate factery in the second year of Shehe

(1645). . But some say it was built in the Genreku period(1688-

SEe~TiV os

."neebe?” guioees sedtte odd bie’

;imdd. ts ,fdereastd® ,saentt mort emed , een! ninizald masek £

vedtens [[ite alfdw .,erestt mert smgo ed yee etteed saoa. dud |

teey -bridt? eft mk saw dT | »fteaiided mort oma od agea dood
“beib oh - .etewh te ooeniwt aid Pfliwd-ed gant (080L) than te

ose ett ,{OTSL)ttaeM.te tees dtasettidt sdt te redaened mé -

- -giI edt oi ona e to nettssgews, edt yd Setashe text? asw aaaek
sow tI .4{SE%L)ikereH te xeov Snooee add ni otemeY to ttodam

, betateq-berjeyedts.ed? tats eaant divtit edt te omit edt mort
-old9 bee ,(motiliorssvlodginel ,leselg exld-tfadeo)teveng-tred
~#719n69 ,ehen.anted exow- Liles dtiw belitt base hevexgae)iredaia

oals eter aetew sodnuG sen te. seiqed | ,.selference yotta mokt

ei? ,"neaeH" bexten ete eersw oagdt- [iA ,atad? ebamvgated

eit «(T08L)ewiawd te xsedy diwwet ent ml boll sexe dtttt

POeeeee Fy} pene dinevelé edi el case tnesstg ©

tneaetq off ,stewA mi-azed eew iedwdd izettel smeyldeagtl

| TLinet edt to diceves edt gf smuapideagi
tid Textil mort eaoo ovat et bisa eb ssiel teruct omeystsiswl
baited tilenel edd trode stinlew fl sdcon add moth euso ed yliacton
emem ect a, etcaneeciclaaetr gathact qneve 2 bear ef (83S L-L8TL)

esodt of teliste eerew, ones goiden gew sin .soviq ble aid te,

“bubdd ont to eyed aft of .ylime® ameginio? oft aot mesodntd to
edt yot temioutonam fetooqa out ae" sono ys mt ogaf- shar imargoste
im biedeused mgode

thostideo moTt eso syed ot bine aigeazinss tiasyedet sesedata
eledé be teey baooes oft id yretont sitult eb dfited Soe yretost
~S888L)betreq slated it tint tiiod asw th yee emoe gua . .{#aar)

0 ——————————

VII--33

7 OS), However it is, there is a document that shows the fact-
ery ence get an order from the Shegunate for the manufacture of
Seme white tea-bowls with brush-marks, of three different sizes;
seme black ones ef two sizes; others with the crest of the Sho-
gun, which latter te be used in the family shrine; and ware-othere
with thread-marks or silver decoration, te be used for the hawk-
ing parties, made in the style of the Awataguchi ware. In ithe
fifth year of Ansei(1858), the seventh Kinkezan seld out his name
"Kinkezan Kebayashi" te a man from Vest Yebisucho. The factory
is new eccupied by ene Yasuda Kisabere. The new Kinkozan family
that bought the name is in its second generation now. The pre-
sent head of the family is called Kobayashi Sebei. He uses the
stamp "Kinkezan" like others of the old and new Kinkozan families.
The wheel-made water-pet of Fig. 18 is a specimen of the

Iwakurayama ware, made of &@ greyish white clay, fine-srain-

ed and of medium hardness and weight, weighing 208 momme

(nearly 1 3/4 lbs. ) The ground glaze is greyish white,

thinly applied all over the body except the bottom and

fitting edges. It is finely crackled. The green of

the deceration is crackled and thinly laid, though not

very evenly. It is somewhat translucent. The ce-

balt blue is very heavily laid. These two glazes are

very streng of lustre like the gold glaze. The mark

on the bottem reads "Iwakurayama". This charming and

beautiful piece is ene of my choice treasures and is

abeut one hundred and thing years old.

The wheel-made bowl of Fig. 17 is one of the medi-

cine bewls used in the Tekugawa family. It is a Kin-

S&--11V , eae 4

~toet edd nweda tudd Seembonk & at weeds 18h ti teveweH ©, (8082
te etutostuaasn eds) rot etancset? eit mertt xebto ine tog one ke
;308 ie teertettLh setit te (aatam-dentd’ dtiw’elwod-set ettdw encod —
ede sat +o teerd eit Atiw etedte.jeexta owt te dene Toald ston
atedteo @emeoa bas ,enfide yltmet eft af bean od ef retial doidw neg
~Swad. édt ret Been ed ot .mettateseb xzevfta te adten-beetit dew
eit at -otew ideovgstawA odd %6 ei¢ta edt eer setttaq ant
eman atd tue ffee mesodinih diaeves off (880L}eeend te teoy detit
Yiotest efT -.edometdeY tee mext oan 2 bd "ddek toltez aes otal?
yiimet sssetata wen off -.e19edsatd sbeasY ene Yd betquose wen at
wean Won. meotigtenes Baesee att ni ei emen oat tigsed tant
oct aves oH .tedet iseeyedex beften ef yitmet sad to baed tase
.eoiltimeat oesedni® wet Bae Bie edd to @redio elif "teaextaix” greta
edd te panes Es ar @£ «ait to teq-tretaw ofem Leow! oft:
-tiets-ecit ,ysio etiitw defpers 2 te shan ,etew susyetolewl <
Lemmon 808 gabigtew,ttatew Bae anonbreit autbec te bae Ba:
otisw datyers ef esals basorg-sdT °{vedt B\elr eiteen)
boas motted edt tqesxe yhed eit? «evo Cie beiiqus vfaint
to nests ext 53 [Xeete “pf eitt ait #2 | sBogbe gxttéit::
‘ ten davedd Stal vistlt-bas\beldosto at Hottexooes edt
neo ed? >. deéotfebvext: tatlwewee of tI. .hoylaevs: yrey
OB acaals ow? eaed? — -btel Ullveod yrev ati etid tlad Ms
eee eat: enets pies eae «nid exten! te gaeite.ytev 3
bie gatwredo atdT ,“sueyermawl" sbest mottod edt co
et bas eerresent soles bal te ome at. edeiq lstitseed
bio. ame, penne, bas herbasd emo tveds
| caged ent ste ‘one. at! Ly satt te. ‘fwod: ebem-f corte oan

~aik @ et ti «ulinet awegileT ‘ettt tk bees alwed emia

VII--354

kezan ware, made ef a white clay, fine-grained and soft.
This piece is not very heavy and weighs 34 momme(a little
fess than 3/10 1b.) The black glaze is thinly laid, lus-
treus and somewhat translucent. The edge of the mouth

is brewn on account of the thinness of ae glaze there.
Teward the bettom, it is cevered with a yellowish white
glaze, thinly laid and finely crackled. The edge of

the base is. the enly place where it is not glazed. It

is about thirty years old.

The wheel-made tea-boewl of Fig. 18 is a copy of Ken-
zan by Kinkezan, It is made of a clay of the earthen-
ere color with a greyish tint, fine-grained and of med-

ium hardness. This medium-thick bowl is quite heavy
and weighs 67 momme(ever 1/2 1b.) The rusty glaze is
lustreus, thinly applied, and finely crackled. The
other part is in a creamy white glaze, lustreus and
Coarsely crackled, and thinly laid. The lines are
very dark as seme dark glaze was specially applied
there. The designs are in dark brown and light blue.
The stamp on the bettom reads "Kinkezan". This cearse
looking but charming piece is about fifty years old.

The wheel-made incense-burner of Fig. 19 is anether
Specimen of the Kinkozan ware, made of a @lay of the
earthenware color with a greyish tint, fine-grained
and ef medium hardness. It is finished with a lus-
treus white glaze, thinly applied and coarsely crack-

led. The lines are very dark. It is about twenty

AS--TiV pacar 3

,ttes bre benmtexg-entt ,yeto ot idw & Te eben etsy neaox
efttre evemuem s8 adaiew dita dened yrev ee et esaig @etnt:
-anl ,btel ¢lnidt et esalg aosid eft {dr OL\S sedt wee}

dtcom eff te egbe ef? “tmeoulsnert tedwomee bas auext

,etent exssts ent <a epennidd edt to taveoos be mwoid af
etinw Aetwolfey e Atiwv Bereven al ot motted ott” btaWet |

te enbe eT ~ .befsosto yfouit 5 8 biel ¢inidd’ ,esera

$I, Bexaela Son at oy bay bhebe qine odd al ened’ oft

| »6Lo eissy Ytkdt trode et

to Ty oo g at &L 3k to fwod-set shem-feodw eft

—y

~£on
-perttes oft to yelo se te ebem ef tI ~ smeseint® qo oes”
~bem te bre benterg-enlt ,talt delyers « dtiw seles stew
Treen et tio al Iwod dotdt-mytiem aiat | (Reenbted tite tk’ -<
at easig yart sat (df g\r ‘reve ) omen Yo antaiew bine |
ent ,belxoeto ylenit bos ,botfeg yniat ,avettars
bie aberient ,esely et bite Wuse Ts P gil Sl P%sG woitto.
jxb weakt ‘oar’ Ubrer yinidt bas be filogto leat TTY
| betlqgqae yllsetoeqs Baw ests arab emee as tsb Trey
ould ditgit bas nword Xieb ot ere eagtacel ex? ° .eredt
eateso aldT "nesodnik” abset mottod edt no qhete ont
‘Sie Wisee Sie a trode et eos, oo tira teo tud guidtool
senfteons at @f .ait to qoiud- enmeoat ebem-leedw edt”
pitt to yells 3 ‘to obam ,etew nas 3H tI eat To heakesah
boniety-eatt ,tatt detyers ~@ dtiw teres’ orewadilt 180
-ast e ittiw befeiott et 1 heenbreif atben to tne
~doeto <ieltide bine baitqos Ulaitt .ewety ot idw anort:
“tinewt tyeds ef 31 ~ .dtab gre¥ ‘exe Contr of? : sbet

fy Fes

VII--55

years old. The stamp on the bottom reads "Kinkozan". It

is 164 momme(a little over 1 1/3 lbs.) in weight.
Kuredaniyaki.

The Kuredaniyaki was being made at Kuredani, Higashiyama, of
Kyote, even previous to the Tensho period(1573-1591), in the
shape of an earthenware. It was semetime during the Keiche
periea( 1596-1614), that a "Tamagode"(egge-shell ware) like that
ef Awata er Ninsei wale a La. though it was later discontinued.
Then its manufacture was resumed some seventy or eighty years

are.

-Rakurakuyenyaki.

Rakurakuyen is the name of a graden at Ichigaya, Tokye, be-
longing to the ex-lerd of Owari, Tekugawa Narishige. The wares
that were made in this garden from about the Bunkwa period(1804-
1917) to Tempo(1830-1843), by the Sete manufacturers who were
brought ever there by the lord, are called the Rakurakuyenyaki.

The clay was gotten from Sebekwaidani, south-east of Seto, the same
place where Toshiro get his material. The Rakurakuyenyaki that
are made of this special clay are marked with the stamps reading
"Sebekwai" and "Rakurakuyen". One of the retuiners of the family,
Masaki Ieri, who had studied the ceramic art under Hirasawa Kuro

ef Owari, took the charge of this factory, and some works,were

made by his own taste, shiek are marked "Masaki" and "“Rakuraku-
yen". He used to make some little statues for the incense-

burners, very elaborately executed, though they are not very charm-

88-117 | ae

tI, "MexeXtatN” abgsx motidd oft mo quiste ed .bfo etsey
stigtew ot {,adf 8\f I seve ofttil s)enmom bSt at

fia yingh etext

te eusyidess ii haphaent te ebam goted caw bteytnebore® eAT
edd mi ,({L08f-E%dI }botved edensT od? et asotvera move eT oye
odotex odd grits eattedoa sew. tl .etewsedt we ne te eqata
ted efit (ortaw Fiede-sge)"ebegesis?" # tett ,(£3L-308L)betrteq
bepattneosts. retel aew ti seintiocaten mae teaail xe stew te
areey yiilate to Yineves eee bemgeet caw stutostunem att creceT

538

lbleyaeqiite tinier |

~ed orto? ,8~egidol Te sebets & to omen edt af noynls usd *,
ee taw eat -ogidetiztell Bwegnagt ,ftawd te btol-xe sad oF anianel
~208L) bo treg awiard ent srede sre x nebias atdt nt ebem e188 tadt -
oxew ost atetmtostenes efel edt yd (gsersoneroqme?: ot (Ter

ie cae yileatial ent bettas ors Stef edt yd neds 49ve tiscord.
Age efit ,etel to tane-ddnoe inebtewiedet sox? tet? os eew. ysis dT.
tadt bisyne ye unie®. ed? .tetretem etd tea exideot eredw eostq
gti beet aqiieds ent ddiw fexttan ets Yalo- fatoede efit to eben ore ©
thts net ent te exentotet ent to en. . ."novinle tates" bas aka ale
ern sweastit teban ste oimsetes ‘ent? ‘betbite bel odw ,ttel among

| pret edien ence bre Ctetost plat. +4. ‘@etedo arf? ‘goad’ “}xawo- te

aintetarteft® bits “bipecit® bexttem’ ets dette odast m6 aid yd eben

~eansont eft tot aeiitsta efestt ontoe avem of beas of 2 "G2X |
-mrgdo eet gon ete Yes? — betvoexs ‘yfedaredate {t9v arsoiHd is

i

VII--236

ing.
The wheel-made water-jar of Fig. 20 is a specimen of
the Rakurakuyenyaki, made of a clay of the earthenware
eolor with a greyish tint, very hard, compact and heavy.
The cobalt-blue glaze is very bright and heavily laid,
extending to the inside also. The variegated spots
about the neck are called "Jakatsu"(lizard). The edge
of the base is not glazed. It is about fifty years
Gold, The stamps on the bottom read "Sobokwai" and "Rakur-

akuyen."

Setosukeyaki.

The Setosukeyaki was made about the Manji period(1658-1660),
by Setosuke of Owari, at Keyamura of Fukui,on the grounds of
Sakai Geki, a retainer of the lord there, to the order of one
Yamada of Fukui, an art-lover. The decoration was done by
Kusumi Morikage, the artist who happened to be staying there.
The old furnace still remains there, though much in a ruined
shape. | Later, seme setsatca-bowls of charming Shapes were
made there for the use in the Tokugawa family. They are call-
ed the "Chufuku"(medium size) and "Shofuku"'!small size) of Set-
osuke. At length, this artist was made a special manufacturer
to the Shogunate family, after which he and his posterity used
to live at Nishikonyacho, Fajibashi, Tokyo.

some say Setosuke was making some tea-bowls for the Toku-
gawa family about the Kwanyei period(1625-1643).
The wheel-made tea-bowl of Fig. 21 is about two humdred

fe ow werk
and twenty years old and was meade by Setosuke. The clay

$e--1T¥ Nas

ee »gert
to Homtseqe @ et o8 git t6 Soh cata bhanitteds ait
etswosditse ens To yels Hi eham _dlerneyuteisdet ent.
-Vvaed bas toaqmss ea Ytev ake igi¢or 2 Activ sofoo
bial elbvasdt bax vai “0 vrdv at exaly eutd- #Ledoo. od?
atoqa betageliey edt ala ebiani edt of gnibvedxe —
egho ei? .fiiestl)"sededat" boffins ore doom eft trode
aTSsy yerit dvoda’ el $I »besaia ton ef Siew ans 53
~timsek" Bas "“Lawiedot™ bast modtod -edt a6 aqmaite ext bio

* Noyes

-tXeyounaoted i;
,(Oda£-88af )bolttec “Ebaett act tude shen aew tdayertsraote? edt
To ebano ty ads to date t to etsmeyel te , trawd to siveote’ xd -
ano to tebio sdf at ~eTond Beet en? 30 téentater a ised fave?

3 qd omob ae aditeroseh edt. steve ltt ee tints? to sbemeY
.o1eds. gaiveve odd ot Beaotvad ode se adr etd egex! 0%! fmeok
beninx 2.21 Honk" sasodt Stade cael emo ilite eoantst Bfo od
eiew deqein din tomtetio ‘fo atwod- cogs oaee ,teted .eqede
~[iso ete yort a elite t smell’ “ike me oust ony yOl exed? eben

o (exta fiens!"makvtade” bas (‘nate aus Bont) "start ef0" ed? bo

ioe

#7 OR
otut oatanem fetosye @ 654m saw teattta ‘aids jatanal FA. Jeutreo
beet i Fteteog aid Bee oc tig tits gots ‘Teinst otensnode - edt of

oyRoT -ieadien odes notice it ve evil: ow
oto” edd 10% Biwad-aat eom. gntzem ad ‘eisieader Yee amok
(Eda l-A80l }betang exon? att ‘teode I tmet swag

Bertha owt tuods az a iid to fwod-wot ‘ebap- Leodte odd

yeto ed? . 1 NT we pe ‘ave baw blo aneey Gonet sae

VII--37

is of the earthenware color of a greyish tint, of medium
hardness and very heavy, weighing 65 momme(a little over
1/2 1b.) The glazing is also of the same color as the
clay, somewhat lustrous and very thinly laid ,but full of
pores like a pear-skin. The edge of the base and the
two indentations on the bottom are not glaged. The
mouth is in the shape of a round-cornered square.
Around the bottom, there is a mark made with a spatula.
It is stamped "Setosuke" on the bottom. |

The wheel-made tea-bowl of Fig. 22 is another Setosuke,
made of a clay of the earthenware color of a greyish tint,
fine-grained, hard, and heavy. It weighs 87 momme(a little
less than 3/4 uaa. The greyish light blue elaging is very
thinly laid, slightly lustrous, and finely crackled. The
base and its edge are not glazed, where the clay reveals
a damascus grain. The pattern was first stamped and then
filled with a lustrous white opaque glaze, like the Mishi-
made ware. This beautiful bowl is about two hundred and

(

thirty years old.

Onoharayaki.

The Onoharayaki was made by Kichibei at Onohara, Taki dis-
trict, Tanba. The thinly made tea-jars made during from the
Tensho period(1573-1591) to Kwanyei(1624-1643) are called the
Ko(01d)-Tanba. The earlier wares were mostly in the form of
jars, coarsely but very cleverly made. These jars are real

Ko-Tanbas. About the Kwanbun period(1661-1672), the furnace

tev. omar ames 25 b gutiaien., grees erey has poeabind
" oat es sxofoo ets odd, Rr oats at geliela edt ets gif.

oto ‘tot td, Stel qiotdd: Urey ihe asottent tedweaoe ywLo
| ent ‘Bas saad edt to 9360 ont

ont ebegalg ton ee mott od edt nO enolvatnebat ows

sOTHN DE betamvoo-basor g To. eyeda- ois ME at atsont :

-2tutege gs dtiw ebsm HLM & at etedtt Mos tod” ost Dawsons
smott od edt 0 "easigoten” Seqmats at a

jediteot ot redtone et 88 igit to fwod-aet sham ledair ea? |
eats ‘datters ge to toloo. oxewntedt x09 oat. ‘to vis « to eben

afitir s)emmoa ‘TS adglew ce Sgvaet’ hiss Sted. Dontoraventt

vrer at antes rg. ould: tight servers PY vane Hk \s nest? ede
edt she foaxe, erent? bas avoxtastt yitdg se’ biel qinide
‘alecvet qto,) edit erent sdosatg ‘Von ste eghe att be eaed
noth bis bodtiats tetit asw qetiog ont atthetg dsonaneb Bo
. “tis ti eit” edit enalg ‘eupaqo od titw ‘excites é “athe ‘berthe ”

ete boxbast owt toda: at fwod titvaed aid?

“setew eben

ito ba iaphak cit

Re ACR sn ere che aa

wihite~taeq 9 ext BOTOG

~~

ViI--38

was moved to Tachikui in the same district.

Tachikuiyaki.

The Tachikuiyaki was made at Tachikui, Taki district, Tamba,
from the Kwanbun perioa(1661-1672), during which the furnace was
Nnoved from Onohara of the same district. Those that were made
about the Bunkwa(1804-1817) and Bunsei(1818-1829) periods, to
the order of the lord of Sasayama, to be presented by him to the
Shogun and other lords, are called the Sasayamayaki. They are
very lightly but very cleverly made. Naosaku was a very famous
artist there, who flourished from Bunsei(1816-1829) to the early
Tempo period(1830~-1843). His works are very beautifully made

in the style of the Chinese "yuteki"(oil-pitcher).of the Kennan |
—period(1399-1402) or the “temmoku" tea-bowls of the "Nogime"
ersin, and sometimes finished in a deep blue glaze, shoucn Mead

exactly of the beauty of the Chinese originals. The stamp

i

reads "Naosaku". Some of his pitchers are called "Ukidokuri"

(floating pitchers), as they are made in such a way that they do
not sink down to the bottom of a kettle but balance themselves

midway in the water, when they are used for warming "sake".

The wheel-made pitcher of Fig. 23 is one of the so-called
pasayamayaki of Tachikui, made to order of the lord of Sasa-
yama to be presented to Shogun or ®ome other lords. It
is very cleverly made of a hard and fine-grained clay of
light erey. The weight is not very heavy and weighs only
eth: rome G2 little over 1/2.1b.)0 The inside is ‘coated with

a lustrous water-glaze, but the outside is not glazed.

nt) ee

wtoitte tb! emse. elt ani tent bon? ot Bevou eew

bieytedidos?:
50 teT ,toliwveald ixeT ,tuxidesT de shem aew tdeylodidosT ed -
Ber sonatut edd dotdw gatuh ({S90I- 120) botnes agdnewal ott r10-X%
bam etew Jeti ssod], ,teistals emee eft to et aden. moxt nina
‘ot ebottec (CSS I-AL80) seensd baw. (TLAL-ROBI lewsierwd eit trode
sdt ot mid yd beteseetq od oo aieiaaion al ‘to bol ext %o xrshto edt
Sis vant -[xeyemsyneaae ed? pelfleo ete ,ehtol testo bos sraode ~
avonal yiev a saw sneeosk oben yltevelo yisv wud yltdyer yisv-
tlise edt of (ese tas At) beaant mort hedetrysolt odw otedts teti2a
absa yllutainsed yrov ete exyow atk .{8d8L-O86L)bobtog oqmet
aennek edt to. ( soitod tq= Lio) "ilotay" -e2eatit0 ott to eiqte edt wi" |
“emt3zo0" edt to alwod-set “sstommet” edt vo [90al-eeSLbotreq
a8 sosortd ,2eig onid qeoh 2 af hedcialt semiteno: Satis hers
* quate eff .elentgtro eaeatdd.edt to ytused ontit & yltosxs, .
Fatt Bott bolleo ote etedotiq eid to emoe .."inlanoalt” absst
ob yedt tedt yew « tese of sham ers yods oe ,(wrodatng gmtteclt),
savicatedtt sonsfiad tud sitted s to motted add of .awoh dobe ton
-"eiee" gotatsw tot been ors want nedw ,tetew oft ot yswhio
belfso-oe eft to sno eb 88 ait to wedod ta pbam- Loode on? |
‘~ges8 to bro exit to zobt0 af ebam ,tanttdoe? to bisyame yess?
i * ahr redto emo to argos? oy botnoseng ‘od of Bmey
“to yeLo boatarg-satt baus Bred ri te hai ‘eiasvers” wrev ak
eine attjbow bac Weed se ‘ton at tigtow eat ters ate a
«git iw Botsoo et ehiond ost (ar s\t Tove 2 ondee 8 #) onmoar. % rs
ones Saas fon or ebiot 4 ' "a0

VII--39

The dark and the white glazes used for the design°-are both
of little lustre, and thinly laid. The aatter has a little
greyish tint and is crackled. The painting is in the Shi-
JO style, but the whole make-up is much like a Kyoto ware.

The pitcher of Fig. 24 is a mate of the preceding one.
It has a reddish brown spot, and is about fifty years old.
It weighs 71 momne (nearly FS ahs]

The wheel-made pitcher of Fig. 25 is a specimen of the
ordinary Pasha kita, manufactured by Naosaku. It is
made of a hard and fine-grained clay of the earthenware
color, and weighs 42 momme(abont 1/3 1b.), not very heavy
for the size. It is finished in a deep black glaze of
strong lustre, thinly laid. Around the top, it ig a little
brownish, as the glazing is a little thinner there. The
inside and the edge of the base are not glazed. As this
piece was made after the style of a Chinese "Yuteki"(oil-
pitcher) of the Kennan period(1399-1402), or the so-called
"nogime"(very fine line effect), the glazing shows the "no-
gime". The stamp on the base reads "Naosaku? Perhaps,
this is the most beautiful riece of the "Nogime” work made
in Japan, though not exactly to the standard of the Chinese
original. The design was put on later in gold lacquer.

The “floating” nitecher ef Pig. 26 is another “example of
the Tachikuiyaki. The upper ‘half is in ‘a dark plaze of
strong lustre ard translucent, but the lower half is ina
lustrous whitish glaze, which tumned into a greyish tint on

account of smoke whihe baline. As a whole, ‘the plazing is

. py
A as Tigh tates

dod oxe'mateed ond 08 aes aenatty shai aia bas atreb ott

efttil se eed eos tbk edt | Stat winks brs ortent ofttEt to
-itn® edd ot at anitiieg Prva -sbeLliveto et bas tot aatyorg

(eotew Ot0UR ‘s : eolbl dogo why _qurnesisat elon wiht dad, gorete ot
~ sento aiinemons: edd ‘he ete. eh. SS gh to tododiq oat -

sbhfo ersey YWtit tuods eh bas ene: sword deaibbher 8 aed dr

ft eae Oye yfeson) emmons, £9 aifgiew $2.

ett san sbissbeieas S at 8s ait Ron. merlodte seins Lo ebter edt . Coie

et $I ~THEBBORT ed Seretestunei. _ tis ylod ios Crsahoro |

otewnertdnse stit to ya to benterg-ontt Arts Sten £. to. aban. ee
yveed yey tom at edt 8\i: toods )enmon Sd edgicr foe ,toloo
to exais denied qeoh»2 i Seda in tt ak, } invented. aks
ptt ae BE TEs ret ade ‘hieteenh's bial. wintd? ,exstecl asia:
ed? o4 omedé are ce belt olts BL seb guteets ett ee (datoword .

: Sel kets eA sbosalg tor ete sead edt ‘To egbe ent bos oblant -

“4 ~[bo}° toleteY" saentdd eto ginta ghd - notte eben ase Reena i,
* ie CT acid ‘eit xe. {S091-22BL botr9g ‘neescro% otto te (rosfodig : ng
J-om odd ewode goieety. sti? pltostte: omit omit wrev)"emtgon" ey .

(egeaet! oe Siige0a” abger eead add m0 gage: ed?) atead god + f
shad anor “snkgol did Sp sooty, Lvtitewed ddom edt ob sh
pa neabaee ode to brebasta, ent 08 ‘eltoaxe. 0m sigan: figs b ot

i stompoal &L03° ‘at xotel go dug sam 1 ab eds, slaatgize

0 Hk Moaiavost" oat, ae a -

to o lane todtone af @8 git 20
to easly) ahs |
aonbiad tat tom
ono tab, sero’ 7

VII+-40

very beautiful, and fairly compares with that of an ancient
Korean ware in the finish. Tanbayaki of this sort usually

has avery deeply indented bottom.

Pottery unearthed in the Province of Hiuga.

The most ancient pottery of our country is of course, a
hand-made ware, like works of the primitive period in any
country.

The big jar shown in Fig. 27 was dug out in the province
of Hiuga in the sixth year of Meiji(1873).. Like the pnot-
tery excavated from the tomb of Emperor Jimmu, it is a
hand-made piece, made of a clay of the earthenware color of
a reddish tint. It is coarse, brittle, and not very heavy,

but very old.

Cho-sa-yaki.

The Cho-sa-yaki, otherwise called the "Ko-(014)-Satsuma"
was made at Cho-sa, in the eolake district of Ohsumi, by the
Korean potters who were brought over under Shimazu Yoshihiro
on the occasion of Hideyoshi's Korean expedition. Some of

rehonk
the earliest products were made from the Korean materials,
and look very much like a real Korean work, but for their more
Japanese-like shapes. Hoshiyama is one of the descendants of
these Korean artizans. The furnace was moved to Tateno(or
fachino) in the Kwanyei period(1624-1643), by Saburohei, the
third head of the family.

It is said those Korean artizans had served the Japanese

u aise it =o.
tneions as to tadi dtiw sauna ylxist bas FOR RB SOS | vxey.
Yifeveas txoe aint to. ixeyedasT o silabatt Bd dook etey: agetol

mottod Setmabak, ykqook trey s aac

ri |

.sqult to seaivort edt mt bedtresan rrettot

Ss ,eatmoo to al qrtasoe iso to yrottoq daetona teom edT
vase at polxed evittuing edt to extow exit .etuw sbam-basd
. niee | | , «VITosr0o
sontvorq eat at tro gb. a2sw vg ait at mwote tat aid edt -
vena Gai »(S¥8rl) rt tek to L891 dtxte weit nt sanii to
cai ti ,wmit toteqma To dot ont mort betavacxe yxet :
to tofloo stgewaeddites eft to velo a to bist -eoeta obsm~bnad
sVvsen ytov tom bas ,elttixud .setsoo et $I .tnit delbber s

blo yrev tid

. tdey-se-odg
mount. (b£0}-94" edt bel igo: ecimxedito. , Heysee-oa0 ont
edd yd .,impedO Towtoixtels aiacsh. eat mk ,38-0089 te ebam asw
orldidaoY eambde tebas ‘ove tiguotd etew onw axestoq iget08

to amok | ,foitthoqxre meetod hole fa to. mofasgepo edd no

gpisixetam seetod edt moxt ebsn,seew atouborq toelires edt
stom thedt rot dvd ,dxrow seetod fse% e-oAtf doom ytov dool tae
to ataebaeaseb add to eno et susyideok — _ woqade eAtl-edensqs’ ~
: soleneta® ot bovom enw soem ed? sanesitre a8@T0X eaekt
edt, tedotudae yd «,t 80 f-38a! bolted kowaew™ ods xt oabdoat
| fe Sah tas edt tocbaed bridt
eRensqst ext Bevree bad enssitie maer0k oacdt bie ef of

FY meek 1 Cakes) eae
,. ] Benes e349 Na Ree ey oh a chal Uk ee We
ie nee pe siebee ote Met eee) ER rh Ge

ao
[ke ikon

army as oanade during the war.

Pateno(or Tachixo) is about one third of a mile from
Kagoshima.

The materials were brought over from Xorea in two
vessels at the time, amd were adored at two different

places, of which Chosa was one.

Tateno(or Tachino)-yaki.

The sfoeoemey mines trae by Saburohei, who moved his factory
Titles face Tatene
atrom Chosa heehee Kwanyei period(1624-1643), after his in-
vestigation-trip all over the country. Most of his works are
very light in their make-up, made of a white clay and finished
with a white glaze with some black streaks running down. It
was by the suggestion of the lord Iyehisa that the manufacture
of the decorated sort was started, but it was much later that
the industry came to a really prosperous condition there. In
the fourth year of Meiji(1871) a branch factory was establish-
ed at Taura, about twenty cho(about 1 1/2 miles) from Kagoshi-
ma, by the order of the local lord.
It is said that Saburohei had studied the Ninsei method

of decoration during his stay in Kyoto.

Taurayaki.

The factory of Taura, a branch of Tateno factory,was estab-
lished in the fourth year of Meiji(1871). It is making some
Nishikidé ware.

Fukuyamayaki.

The Fukuyemayaki is made at Fukuyama, in the So-o district

rea eae es 8

pation a barre
_ stew edt gaivyb aebitg,es yore

mort elia a to Byti¢r exer tiote: ab! Uopiivel: rolonete?
| anideogesk

owt mi geto’d mort teve tigyotd erew elsixetam od
Sxorothib ows te bevote orew baw ,owit edt ts afenasy:

,emo saw eeod? dotdw to ,sevelq

ssa ien to )onese”

ray
yrotest atid bhevom odw redorudae vd hbetireta ane eee eT

sae) cull

-si- ein azotts {epareasar) ‘Bokrog teyonwi nitibaciln ee ste gro ti,
ste extow Rid. to: Teok -Ytinsos sit teve [ia atst-oitegiteey
bedatnit brs yelo etidw # to shea Sqar~ oolent treat mi $e EE Trsv
+I. ,owob sntnoyt edsexte Heald: emos Htiw siale etitdiv a ati.
ertos tuna ect ted? satderi Brot edv to nottaegaue ont yw saw
tends total dovm eew JI tod -betrste asw Ttoe beturooos eit To
gt erent nots thmoo avoreqee tg qilaet sa of emeo yxtes sbort odd
-datidetae sew yrotost donee ; (12981) Et tok to tsey td -us0% ent
- tfeogss mort {aetin Sat dt “bode losto qinow? trode: Suet ts be
ae 4 -brol Leool eat to <ebro ont yd om
bodten teantt edt bethute os redonadee ted? Biee at +1

a OF ON ni “qete abd gabiwb soltatoosh to

_ixeyecoe?

+dgtae aesw,yrotost onete™ to donend 2 ousa? to yrotost. ent

en08 antvem at tI (EVOL) Eb Eo te Baad Absnot etd at bedait
| <i | axe ‘pbididelt |

i}

} - aleyema ater”
toixteis o-o8 edd ai — te bam at sxeyamwrgniat ont

VII--42

of Chsumi, twenty-two or three miles distant from Kagoshima.
It is said a merchant called Shikine started that in the

eighth year of Meiji(1875).

Tsuboyayaki.
The Tsuboyayaki was started at Tsuboya, Satsuma, by some
of the Korean artizans who haé come over with Shimazu Yoshi-
hiro, the lord of Satsuma. About one hundred and fifty years
ago, its branch was started at Noshirogawa of Ijuin, about

thirteen miles distant from Kagoshima.

Noshirogawayaki.
The Noshirogawayaki is made at Noshirogawa, of Ijuin, in

the Hiki district, Satsuma.

Nanamagariyaki.

The Nanamagariyaki is made at Nanamagari, in the Kagoshima

district, Satsuma. It was started by a merchant in the six-
th or seventh year of Meiji(1873 or 1874). "Nishikide" ware

i hi orod phere.
is a chief product false atta Oradece)

Kinrandeyaki.

The Kinrande(gold brocade ware) of Satsuma was started by
Gennami Shigehisa, the tea-master of the Hea eae ty He
had studied the ceramic art. under Takahashi Dohachi of Kyoto,
by the order of his lord, Shimazu Shigehide. Upon his return
from ¥yoto, Shigehisa built a factory of the Awata style at
Tateno, Satsuma, and started to manufacture a "Tamagode"(ege-

shell)ware like am Awata, of the materials ke got from Dohachi.

sidsoasN movt taetels aelhe eosin? xo owd~yduswe -bowedo to
vedd ni dadt hedtate entkide bellao toedotem is -btee at +1
slOVOL LE te to veayocitdtsaio

.tleyeyodrat
amos vd suvets@. ,e@yodral ts betiate eaw iterehdicnh sigs
-tdeoY saamid® diiw revo omoo bat of@ enasiixe asotod ets Io
atsey YItit fas Bberhaed ado. Soo0k 7 sMttveagec: to brol edt ,orid
toode ,atutl to awegotideow ta betrate tew- donetd ati ,oas
| | ,omidedgok mtoxt daetath esofistoacedridt

stisyevesotianaok

si-jaiotl to ,ewagotidectd te eben et ideyewagotideod ent
ae semrate® ,teiveth fit edt

-Hleyitegsdene
antdecsad ade nk _ttesonenet om eham at seach era staan od
-xia odd nt smectoret a yd fotieta asw aT. - Lemmatet,),tobcenb
etsy obittdely® (ARES oo Sen re eee ee saoq dimevea to dt
: fc dacateh ay sack aid soubety teido s at
, -theqeonmanty | ;
“a bettsta’ new soursted to | (exe shsooxd biog hbaazatt By Uy
on anuiada®, D108 edt to totasmtesed eit seeidegthe imanaep
otoyn To inoadod Edtbac ‘oalat co beets ed oases, ed? belbuta bas
aistet eid moqU “.sbidegeae meant? (brOL ald to: xsbr0 edt vd
‘ts eigte stews ant to qeotnat” By dhind gabdogiae otouk mort
| =ga0 )"obogemsT" a ortdosteaum of hotaete baa venuets® jonetat |
.ttosdod stort tos of atatiedant ‘edt ts. eta cr) omtl, etsal [Lee

bar's ant Yen re:
& :

VII--43

The decoration was of a fine and beautiful "kinrande"(gold-
brocade) effect#, but the glazing was rather soft, compared
with that of an Awata ware. Moreover, the design was too
much like that of a textile fabric snd lacked the charms

of those of some other sorts. During the 1ifene? Shige-

hide, no expense was spared to manufacture really good works,

as he wanted to make ,presents of them) but after his death,

the output became much degraded in quality. The modern
products, which are made only for commercial purposes,
have somewhat of the appearance of the o1d@ ware, but are
entirely different in their quality.
Shigehide Shimazu,lieutenant general ,became the head
of his family in the fifth year of Yenkyo(1748), and re-
tired from the public life in the seventh year of ¥ cine
(1787). Then ,after the twelfth year of Kwansei(1799),
he called himself Yei-o. He died inthe fourth year of
Tempo(1833) at his residence. in Tokyo.
The wheel-made tea-bowl of Fig. 28 is a specimen of the
Satsumayaki, manufactured after the style of a Korean ware.
It is made of a hard and fine-grained clay of the earthen-
ware color, and weighs 70 momme (7/12 hha) The glaze is
lustrous grey, very lightly applied. The edge of the base
is the only placeit is not glazed. The design was first
engraved and then filled with a lustrous white glaze. This
pilece seems to be ahout one hundred years old.
The wheel-made tea-bowl of Fig. 28 is a specimen of the

Kinrande of Satsuma, shaped hexagonal by hand around the top.

Sh-nIT¥ : ro

~5fom)"ebasigit" {stitvzed bas exit» to saw moktetooes edt
boteqaoo dtoe tedser caw gateels oat tnd ,ttoette(eSeoord
oot aew matesh od? ,Tevos tom ,otew etewh ae to taedtidtiw
amtedo ott bexoal fae otydet eftixet 2 to tedt peter
~egide to stil edé galas .».edree sodio emoa to eaodt to
.axrow 6903 yiiset exstogtynem of beteqe ssw. eeaoqxe. on: yobid
,itgeh aid rzetts. tad jweds. to atnseesq, sxlesy ot hetaaw isd &s
mre bom edT ~Utilesp ai bebaxvseh. doum enaced dedtse 9 ait
,AOROgING thakenele Tot yvlnoo-eban ote daiduc etenbies
ote tod. ,sraw 5fo0 sed? to sons tog qs edd to tedwomoe ovaed -
ei tlenp tiedd ail taereti ie ylesivas
baer odd ommoed Istoneg tienotsoll msemtde ebidegide
~9t Sas ,(8d3LloyiaeY to rey AtTtIt edt at eiidet std: %s
feomusT To T28y dinevee edt nt etit olidsg ent mott heris ;
,(@@%L£)isanewH to teey dvifewst edt toits,aeqT .(T@NE)
to taey dvusot edt mt hers of .o-teY tieamtd beffeo on
| omtoT mt sbnobieet eid te (Se8L oqmet
ent to somioeqe & al es. seit To Iwod-net ebant-Leedw ent
.918W Heet0E 9 to siyie eat rete Bo rntos toned fteyemretae
~tteodtise ad to yslo Doniera~ ont? ane biad g to ebem al tI
at osals ed? t.d£ $.£\"}omon oF. eiigiow. brs stoL00 orew
evsd edt to ogbe, eT sboktque. pitmgil - ey org alostans
taxit eaw mgieeb edt henela ton al vi 00ala aes) ond at
alta? eager otidw auort asl r) ditw ‘pattie wedt fas boverado
: | a BLO 6189y boxbe mt emo tore ed oF ameee sooty
ent to nemioog : & Be es git to fwod-aat ‘oben foadn od? |

sae arts bawots Sad Gas Fanogexed Soqude age tae to obua tat
BS ME Ge Baer ie Se ue oe

ee ae

VII--44

It is made of a white clay hard and medium grained, but it
has been soiled into a greyish tint. It weighs 69 momme
(about 7/12 ibea The glaze is white with a slight suggest-
ion of light brown, lustrous and finely crackled. The edge
of the base is left bare of the glazing. The red of the de-
sign is.of a deep, quiet tone. The green is somewhat trans-
lucent, but the light green is opaque, though lustrous.

Both gold and black are bright and deep-colored, and very
thinly laid. The design is in the style of the Tosa school
and very charming. But, like a pattern on a textile fabric,
it lacks the force of execution, and rather inferior to that
of the Otowa ware. Yet, so far as the Satsuma-ware is con-
cerned, this is one of the best of the kind, and is one of
my treasures. It is built rather light around the top, and

heavier toward the bottom.

Mikawachiyaki.

the Mikawachiyaki was started by a Korean called Kozeki, at
Mikawachi of Hizen, about the Keicho period(1596-1614). It is
more popularly known under the name of the Hiratoyaki. It was
from the days of Joyen Yahei, the third successor, that the in-
dustry became more and more prosperous. His factory, which had
some twenty workmen including the Superintendent, chief turner,
hand moulder, and painter, was under the special control of the

Matsuura family, the lord of Hirato, and so all the materials

were supplied by the lord's treasurer. Ishiguchi Keiji and

Furukawa Matazo were noted as expert turners; Imamura Ryosaku,

tie tod enters mt Bee Bas Died yelo ertdw a to. sham et er.
eumrom @3. ada tow ®t hee tok ‘te ters: Bot nt beLtoa reed gat
~teeganea tigife w ditw efidwiet saalg. ont (dt Sr£\¥ tuode)
‘egbe off. ,belxoato: yfentt buevadowent ,mword tigtt to: nob
~05 eit to bet off sgutesla-edd to oted del at easd eft .to
-aneatt tenwenon ef neers) edt: > enod $itk petice ho ab waie
| sasnist eat fguoit ,erpsqo et moerg sdgll eft tid ,dmeont
yvisyv bre. ,betoloo-qoeb bas tHgitd ete foetd: bre blog ddo8
[oodos saot eft to elyse ont ab eft. ngtesh eft «biel ¢fatd?
,oltdet elites # no nvetteg 6 ett ted sgetstredo prev bus
ted? ot stolretat “etter hus. ,foidsooexe To sorot edi axon thx

~foo ef eteaw-amvatsl, edt an tet 08 WeY (ea awodo eat to
toveno ei bas berks ois to Jaed edt To ens as aid? benteo
bee jqot edt dasore delete tedias tifud at a le sora ‘sppee
.nottod eutt bxswo? sotvsed

| | stkeylidosweiin » mer:

te , fxexsot beliae neexou qd bettets BgW ley ideamedtty odd
ato © .{£af-3e@L)Botteq odoted eft tuoda wos iW to dkabawediM
eow $I Lideyotethl odd To oman ot xobar awomd yltetuqoq tom
-mt eft pects prosaessoua putt> oft ,teae® meyot to eyeh ont m0 Ct
‘had noidw Trovost efi avoteqeotg orem bas toa omsood ypntes
tentcsrt tidal dtobuctatseque ant gu bier Bont ceanttow Ytaews omoe —
neds: t0 Lortaoo Latoegea odd vebau sew ,tetnteq: bre Teh Liou bos
elairoien od! [fs og bae\ joteshl to Sxel vets Uline? staged otf
~ bre ££ee Mtowgaded / wtetirawent | ‘a Brol ode yd Setlqque otew
whee oTe sivnsml ; eromtst treqxe ae Beton otow dastaM exsitoty

VII--45

Mukuo Kikuzo, Imamura Tsunesaku, and Imamura Gonkuro, as skill-

ful hand-moulders; while Imamura Keikichi and Rojuro were noted

as decorators. Of course, there were some more famous artists
among the private manufacturers. The materials came from Ama-
kusa of Higovand Mitsuoka of Nagasaki. The clay from the lat-

ter place was used for the glazing, mixed with some ashes made

froma certain wood that came from Satsuma. The factory own-

ed by the lord was at Mikawachi and called the Kogyosho. The
factory is rented to one Furukawa Chojiro now. The products
of this factory are usually very lightly built, and beauti-

fully decorated, though not very tastefully. But, they were

not intended for the common market, but intended for the presents
fromthe lord to the Shogunate or other feudal lords. The de-

‘Sign of some Ghinese children at play under a pinetree began

to be used frequently from about the Bunkwa period(1804-1817).
Those Shite seven figures are considered to be of the- best
quality; those with five figures coming next, followed by those
with three figures. The seven figure design was prohibited by
the feudal government to be put on wares for the common market.
Those having blue paintings were made after the style of a Chi-
nese ware. The private factories were making some goods to be
sold to the Dutch traders.

Some other factories are making about the same sort of
porcelain under the name of the Hiratoyaki, but they are a
little coarser. Down to the Joyen's time, the product
Was in the shape of an earthenware. The manufacture of

the porcelain decorated in blue was acwuired from Arita.

ae -tH err ee

~[ifde es: ,otmino? stsmenl Sue bane ,infesonwe? 2 concen tes onset
jetom stew orptor bre tiotdtet stimsaint olindw paroblvomebawd fo
eteliie aronest sront euioa stew oiedd sess 16 etodeToped aa!
-sih Ott oreo efeitoten' edT © aretitosteaam stevixg end anon
»tel 1d} moxt weafo od? . | bildhegel Y6 elovatiy big oglh to eaux
ebam gdedes eroz athw Soxin ,gniaeig edy tot beet caw sosiq ret
«fwo.yrotost od smeates non aoiae tedt boow cist reo a mort
ei? .ofeoygont ott-felias fae tdoawetin te sew bror edt yd be
atowbord ed? wot ott}od0 ewestytyT emo of botnet ab YxOtos2
-iineod fae ,thind qitdatl yrev yllunas ots protest elit to
Stew yous ,tud {Uf Lirbetesdogeey fon Agwodt ebetatooah clive
adasgexq od? tot beinotnt tad’ Fox teat AOmcs exe Tot bebraptat ton |
-eh ed? ¢Lebtol. fabmet teito ro etenugode edd of Bol edit mors
“taged esitoniy 2 Tohny yelo te: eotb Lido esonind siiroe to mate’
«(Trer- S06! boltaq ewalecu edt tyods ae Tt, pit wospert boat ed ot
teed ont to ed of bexsb tance ote aotig it aeros gnivect eeodT
eseod? yd Sowol Lot ,JSxen gnitos eerrglt svit. heal seoat iwtitasp
ce bestdiddnd Bow gies atsgit neve ea? ‘eetirg£t eotdt itiw.
-doxism mommies. odF sat eetaw 10 der ed of dnomnzev0y Labist sdt
= hito BIG afute ontt pice ebamt exew ogaidnign: eure: ghivait® eBonT
ed of ada Ti tet} faith ties stew acitotost 6tevite odT + .etat euen
setshats dotwd ent ot bios
to. +168 omtes pitt orods aptatem hited aefiotost xadto sod
Bug edd dud ;tiayotatit edt to: cenit add ebas ate fegzog |
tosbong edd, eure freon ef? ot RWec § \xeexev0 efseht
- ‘to etwitos tne ead? | .Siswastitires “ey to eqade oft at aew'
-5ee2E: mont aren ent ‘enid - ‘Bodarovehatetootem ext ‘3

a,
—
~

Paes *

nal

ea

ee

A)

as

VII--46

It was sometime during the Horeki period(1751-1763)
that the Kogyosho was established.

Joyen is supposed to have been living about the Mei-
reki period(1655-1657).

The heavily built wheel-work pitcher shown in Fig.
20 is a specimen of the Mikawachiyaki, made of a pure
white kaolin, fine-grained, hard, and heavy. It weighs.
154 momme(about 1 3/10 lbs.) The groun@ glaze is also
pure white, dull of lustre, and as beautiful as an egg-

shell. The design is in light blue, lustrous, but of

avery quiet tone. seven children are playing under a

pinetree, by the peony flowers. This piece was present-
ed to the Shogunate by the lord, but I do not think it of
any special beauty or charm. It looks to be about fifty
years old.

The wheel-work wine-cup with a high base shown in Fig.
31 ie another specimen of the Mikawachiyaki, very lightly
built of a white kaolin, fine-grained, hard, and of medium
weight. It weighs 12 momme(slightly over 1/10 bs } The
ground glaze is of lustrous white. The design is two Chi-
nese figures by some flowers under a pinetree, all painted

in blue. It is very cleverly made and seems to be ahout

Sixty years old.

Ninegawa Noritane.

October of the thirteenth year of Meiji(1880).

| rs eck :

. aay P

(Bares ratit}Bodsen Hiszom itd anime, omttenos: eam +I

ee, pa Be | sbetat idedgs eet orleoxgox: or) dest |

Ta tem ont tod wanker nsod ove. oF beacgine ei meyou.

eOete /s(8B9T-888L\Bottoq Ixox
gtk ai cure de. rota Aton i becky: bLisd yiiveed ent

Pa, at ie ettq eto sham )EiaytdosivedtH any to. reminens seb: da:

ae edstow" tI Sveod bad .brtsed. Sentergvent? yah Lope otidw.

oale at eaaly Hrsrory: ott: { ede OL\e"s tuods) somo per

"Lie he Bes tptahysed ae Ditty ented Lo Eieb odie ese:

tovdid ,avortosl jemdd Sagi l-otiet agieos ont: -llede

Se Yobay satyeto sxe Ketbitdo~ neve! .eaod Wolmp prove ‘2 fer *,

Cae “ti986 Tq aeW coshy atat BI pwokt -yn0eq ont Td vootterig

gr hit dope 4d ot atool $l ° sorverlo th. Venad Tepooge'
. : ; ; | Lo ates
. sBiT mt. ft oie sand ea, & tie ques entw wicndihlbnce out
“ eltigtieyrey dloxtioemat rt ett %o aemineqs edtoie at ES
sie Bon, to bus: | breil bod haxg-ontt iE LOns! od: tele oto, tind’
aaa (df: on\e FOV: eldde.t ce lemon SE ana tow: + stigrom:.
£4 wd at nyieed: ont ‘od bila asoytect %6 at, esis ‘bang -
me botaied ‘Efe jeortenty B rob me exowolt- Seon wd doreytt een’
| /tyode od oF axjede Bas eben elreve le et ek. [se onl at
eae ae ee er: ae ae aTe8y Yeats:
eee _ahcat dod atiigontiig Cs rea ie ahs
wanetins “« Pai iy: to m0 ianaogie att te disiened:

a Le tL tatets tom. ob I tad (oro L ent Nal Steaugoit? odd ot ‘be neni

‘ 4 Pin f t eae a dee el ee ee ¢ ie "
ifs} + ted - pon Whee ty ae he are) ra ne ina iN ‘= ? hi , tin 7 it
ie acne Ee ae a
: a: ns ’ ke . by i a's -